AUSTRALIA

THE
BIG
STYLE
ISSUE
LIAM
GALLAGHER
UNFILTERED
THIS
IS NOT
FAKE
NEWS the
real
WHY WE BELIEVE
THINGS THAT
AREN’T TRUE

PLUS

25-PAGE
WATCH
SPECIAL james
franco
PHOTOGRAPHED BY MATTHEW BROOKES
 EDDIE
R E DM AY N E ’ S
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B RU C E W E B E R
 CONTENTS
SEPTEMBER/OCTOBER

1 8 2 COVER STORY
James Franco in his most
honest interview yet.

1 9 4 THIS IS NOT
FAKE NEWS
The science behind why
so many people believe
things that aren’t true.

2 0 0 THINK FENDI
We survey the new AW17
collection – and meet the
woman behind the label.

2 0 6 ANTHONY LISTER
The iconic Sydney street
artist, in his own words.

2 1 2 DIOR HOMME
The latest collection from
the French label – shot
on the streets of Paris
(where else?)

2 2 0 GOOD JEANS
How to wear this season’s
best new denim styles.

2 2 8 BACK TO
BAGHDAD
We head to the Iraqi capital
with Munjed Al Muderis,
more than two decades
after he fled for his life.

2 3 4 ALL HAIL ON THE

THE KING
How designer Alessandro COVER
Denim/shearling jacket,
Michele turned Gucci into
$3785, by Gucci; cotton
fashion’s hottest property. T-shirt, $360, by Giorgio
Armani; ‘Coach Man’
24 0 CITY SLICK fragrance ($85; 60ml),
worn throughout.
The coolest new tones
to add to your wardrobe. Photographed by
Matthew Brookes
Styling Olivia Harding
Grooming Diana
Schmidtke at
Something Artists
The GQ Australia
team flew to LA with
Qantas; qantas.com
Shop 3035 Level 3 Westfield Sydney (02) 8203 0901
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 P120

CONTENTS
C NT
SEPTEMBER/OCTOBER

P140

P212

6 1 THE BRIEF
On set of Blade Runner
2049; the creator of
BoJack Horseman; the
best new tablets; how
P255 to make a Hollywood
blockbuster (the easy
way), and much more.
P88
8 0 THE COLUMNIST
Dan Rookwood on
the pros (and cons)
of in-flight wi-fi.

9 5 TASTE & TRAVEL

Why Lisbon is Europe’s
coolest city; Australia’s
best new openings;
natural wine is a thing.

1 0 2 A NIGHT AT...
The Mornington
P100
Peninsula’s swanky
new Jackalope Hotel.

1 07 GQ STYLE
The latest, greatest
runway trends
from SS18; aviator
sunglasses; the best
new accessories;
JW Anderson teams
up with Uniqlo.
P107 1 4 0 CARS
Into the Outback with
the new Land Rover
Discovery; tackling
Bathurst with Ferrari;

“I’VE BEEN SOBER FOR

the future of motoring,
according to BMW.

SIX MONTHS ONCE

1 47 GQ INC
The GQ Guide on
how to plot your

BEFORE – AND IT
next career move.

1 5 3 GQ WATCH

DROVE ME TO DRINK.”
The best of Baselworld
2017; our exclusive with
Hublot ambassador,
Michael Clarke.

G Q & A : L I A M G A L L AG H E R PAG E 8 8 2 5 1 GQ FIT

In defence of dad-bods;
how to master being
P161 a sports photographer.
P206
 EDITOR’S
LETTER
T H E
L
ooking back,
I should never
have turned
my phone
notifications on.
Every morning
my alarm goes off and I reach
for the bedside table, only to
find the real wake-up call is
seeing what’s been happening overnight, in the good old US
of A. You see, news alerts have become somewhat of an
obsession for me, ever since a certain real estate mogul-
turned reality TV show host decided he wanted to play
politics. And I know I’m not alone here.
American presidential campaigns have always had
a certain showbiz quality to them, but this one was
downright gruelling. Every day, it seemed there was
some new revelation; a new twist in the story so shocking
that even West Wing creator Aaron Sorkin couldn’t have
scripted it better. And I was hooked; each day’s news
arriving like a fresh instalment of House of Cards. The
political intrigue was captivating.
Then in early October, I woke up to the Washington
Post’s scoop of the notorious Access Hollywood tape,
recorded in 2005. Trump, at that point a hugely
influential public figure – a man who by then was
on the cusp of his sixties – was caught describing not just
his appalling treatment of women, but the fact that
“when you’re a star, they let you do it”.
40 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
Shocking revelations
were a daily occurrence
at this point, but there
was something different
about this. Something truly
startling. In many ways, it
is those unguarded moments,
when we think people aren’t
listening, that have more
weight than what we tell people, or even ourselves. Those
are the moments that show others who we really are.
In the end, it made little difference. Trump is in the White
House and the revelations keep pouring in, one news alert at
a time. This is the leader of the free world. A man so out of
his depth, so trapped in out-dated ideas of what it means to
be a man, so cast adrift from reality, there seems little chance
of the spectacle improving anytime soon. For us or for him.
At GQ, I’ve been lucky enough to witness the evolution
of men over the past decade. Aussie guys used to be afraid
to show an interest in fashion or talk about their feelings.
But these days, we realise there is no single definition of
masculinity or set of rules that we all have to live by
PHOTOGRAPHY: TIM ASHTON.
– and that’s a very good thing.
Just look at sports people; cricketers were once portly,
beer-swilling blokes and today they’re style icons. The same
is true of some politicians – unlike Mr Trump, Obama has
always known the benefits of a well-cut suit, and Canadian
PM-cum-style icon Justin Trudeau even recently graced
the cover of Rolling Stone magazine.
 Beyond the fact they scrub up well, these
two men have been champions of women,
minorities, immigrants and LGBTIQ
individuals. The kind of people who now find
themselves struggling to see where they fit in
Trump’s world – or if they even fit into it at
all. But it’s comforting to know that there are
great role models out there for today’s young
men – you just have to know where to look.
Take James Franco. Yes, our cover star
is one of the most handsome men on the
planet, but it’s what he says in our interview
that really caught my attention. In what
must be his most open, honest interview
to date (p182), Franco discusses coming to
terms with his success, discovering who he
really is, and finding time to be present in
the moment. Sometimes we have to slow
down to get ahead.
It’s advice I’m trying to take on board,
too. I still check my news alerts each
Cotton/cashmere
shirt, approx.
$1620, by Tom Ford
at Harrolds; denim
jeans, approx.
$620, by
Fabric-Brand & Co.
42 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
morning (hey, the man has his little hands
on the nuclear codes now), but I’m trying to
make sure I try my best to truly appreciate
each moment as it arrives.
Even though most days my calendar
barely allows me enough time for a quick
coffee between travel, shoots or meetings,
I still try to make an effort to sit back, take
a breath and be present whenever I can.
After  all, I have to admit that being the
editor in chief of a magazine like GQ does
come with its perks. One of those is being
able to introduce this, our fantastic
September/October magazine.
I’m very proud that our Big Style Issue is
packed with opportunities to sit back and
appreciate the world we live in. Whether it’s
our frank chat with the hilariously mouthy
Liam Gallagher (p88); our foray into the
incredible world of Alessandro Michele’s
Gucci (p234); a visit to Iraq, more than
a decade after the conflict began (p228);
our bumper GQ Style section (p107); or
our in-depth look at why people believe
conspiracy theories (p194) – I’m confident
there’s something for everyone.
It truly is one of our biggest and best issues
of the year. And that, I’m very happy to say,
is some good news.
Enjoy.
STYLING: OLIVIA HARDING. PHOTOGRAPHY: MATTHEW BROOKES.
NICK SMITH
EDITOR IN CHIEF
FOLLOW NICK
@NICK_SMITHGQ

OLIVIA
HARDING
FASH ION E DITO R
What are your top
three moments
from fashion weeks,
and why?
1. Loulou restaurant with
Patrick Demarchelier.
There’s only one Patrick.
2. The Prada show
– it’s always magical.
3. Sitting opposite
Aziz Ansari and dancing
along to The Beatles
at Paul Smith.
Two wardrobe
essentials every
man should own? 
A great leather
jacket and a pair of 
RM Williams boots.
The best thing
about your job?
The opportunity to
travel and meet / work
with photographers
whose work I have
long admired.
Is it possible to
predict ‘trends’?
And if so, how?
Yes, of course. Read GQ,
we’ll get you clued up.
What fashion advice
would you offer any
gent who asked
for some?
Choose fit and comfort
over fashion. There is
nothing more awkward
than looking pained
or uncomfortable.  your own style?
The most prominent
thing about James
Franco on set?
James is intelligent,
charming and very
cool but above all he
was respectful and
professional. It was
very endearing.  style as I believe it ‘puts
44 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
CONTRIBUTORS
SEPTEMBER/OCTOBER
FROM TOP
Prada’s Men’s SS18
show in Milan in June;
Miuccia Prada.
ANDREW Do you have a favourite
story you worked on?
MALLETT
I NTE R N E D W ITH
I quite enjoyed working
on the GQ Style on-model
story. I got to help with the
TH E FASH IO N TEAM planning and organisation
of that shoot. To see the
process evolve from the
theme, styling and shoot
to it being on layout was
really rewarding.
How would you describe
Fluid. I love the classic
nature of suiting and the
structured silhouettes that
it can provide. However,
I do also love attention
to detail and feminine
accents. Accessories are
also a major part of my
PERRY OGDEN
SH OT OU R CAM E L AN D
COLOU R STO RY I N PAR I S; P24 0
What is your favourite subject to photograph?
People.
How does shooting fashion differ to portraits
and places?
Not that much as I tend to see everything as
one. Though with fashion you have to keep
an eye on the clothes.
What impact does photography have
on men’s style?
I think people are looking at photographs
more than ever before so there is definitely
an impact though it’s hard to know exactly
what that impact is.
The greatest moment in your career?
There have been many great moments. Going
to the Venice and Toronto film festivals with
my film Pavee Lackeen (The Traveller Girl) are
definitely two of the highlights. 
And the most difficult thing about your job?
Dealing with customs!
the cherry on the cake’.
Who are some of your style
You were a hand and leg
model in our previous
icons and why?
Law Roach is definitely one
issue. Any plans to
expand your career?
due to the work that he has I loved being in front of the
done collaborating with camera – it was interesting
Zendaya and Celine Dion, to see the other side of the
as well as his creative story. I would be up for
direction and progressive anything in the modelling
thinking. It’s a path I’d love field, I think it would be a
to one day follow. great opportunity to learn
What’s your dream job? more about the industry.
I would love to be a part You’re moving to London
of the styling team of a soon. What are you most
main fashion house – Dior looking forward to?
Homme, Burberry or Ann I can’t wait to experience
Demeulemeester are some the diverse fashion culture
favourites. To put forward as the scene in London has
my creative input and to played a part in shaping my
experience the process style. I’m also excited to
of design would be an dive into all opportunities
absolute dream. that come my way.
 W A T C H B E Y O N D

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W I L D AT H E A R T
 AUSTRALIA

EDITOR IN CHIEF NICK SMITH

DEPUTY EDITOR RICHARD CLUNE MANAGING EDITOR MIKE CHRISTENSEN CREATIVE DIRECTOR AT LARGE JOSH BEGGS

STYLE DIRECTOR KELLY HUME FEATURES EDITOR JAKE MILLAR

FASHION DIRECTOR AT LARGE TREVOR STONES SENIOR SUB-EDITOR CHRISTOPHER RILEY
FASHION EDITOR OLIVIA HARDING GROOMING EDITOR DAVID SMIEDT
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CONTRIBUTING WRITERS
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Noelle Faulkner, Damian Francis, David Halliday, Anthony Huckstep, Dan Rookwood, Nick Ryan, Will Storr.

CONTRIBUTING ARTISTS
Tim Ashton, Adam Baidawi, Tim Bean, Matthew Brookes, Richard Bulley, Delly Carr, Neal Franc,
India Hartford Davis, Alina G’Ozina, Neale Haynes, James Mullins, Edward Mulvihill, Frank Ockenfels,
Perry Ogden, Martin Olman, Carly Ravenhall, James Robjant, Giuseppe Santamaria, Antonietta Scotto,
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FEEDBACK
SEPTEMBER/OCTOBER

DATA

E
very month
I eagerly await
THE SURVEY
the arrival of Tell us what you really think. Each issue, we’re
GQ Australia. asking readers to share their thoughts and
this time, it’s all about style – from where you like
But to my to shop, to whose style you like to replicate.
shock, after Here are the results.
seeing the cover I discovered
WHOSE STYLE DO YOU
that Barnaby Joyce would be MOST ADMIRE?
featuring in this month’s
issue. I wasn’t getting my DAVID BECKHAM 22%
hopes up for an insightful A$AP ROCKY 7%
article to stimulate my mind.
But, you know what? HARRY STYLES 22%

I actually found myself liking RYA N G O S L I N G 27%

Mr Joyce. Yes, me – a socially
JARED LETO 1%
progressive, gay, Labor-
voting young man, found OTHER 21%
himself sympathising with
his antithesis. You really gave
an insightful understanding
of the man – and early on in WHICH
MOVIE
the piece it was easy to see ARE YOU
why he garners so much MOST
support in rural regions of LOOKING
FORWARD Blade Runner The Hitman’s Kingsman: The
Australia. The Deputy PM TO? 2049 Bodyguard Golden Circle

really gets country people. 57% 7% 21%

Right on GOT Day. Well
played @gqaustralia
VI RG,
VIA I N STAG R AM
The king in the north!
B R E NT,
VIA I N STAG R AM
Thanks guys, who knew
Game of Thrones was
so popular?
And guessing not many other
pollies can claim to have
been a bouncer at their local
pub. Thank you for a terrific The Emoji Movie Battle of the Other
interview – one which has 0% Sexes
14%
1%
STA R helped our Deputy PM
LETTER
connect to a segment of the
population that he may not
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 THE AGENDA BY PAUL MURRAY

‘ACCESS’ ISN’T A KEY

TO TRUTH, OFTEN IT IS
A BUFFER AGAINST IT

T
here’s one word that The heroes of the modern media
stands between people aren’t the ones with the biggest Twitter
knowing the truth about following, or who pop up on TV all the
virtually all areas of life – time to trump their own ‘exclusives’.
‘access’. This is the ability The people I look up to are the reporters
of the media to stay on who roam freely with no fixed beat.
the inside of a story by being able to talk They are not full-time sports, political
to the powerful. But it often comes with or business reporters. They bring
a heavy cost. One where there’s an entire fresh eyes to a  situation because they
industry that enforces the rules of the don’t need the gatekeeper and couldn’t
game. A game from which the reader, care less what the company, politician,
viewer or listener often gets removed. athlete  or subject of their focus thinks
Increasingly it is this ‘access’ that governs of  their story. Little will prevent them
so much of what you see in the media and from seeking out the truth. And they
is a big reason behind what you don’t. T H E A N C H O R O N PAU L M U R R AY L I V E certainly  won’t be concerned with its
They used to say a reporter is only as I S C O N C E R N E D J O U R N A L I S T S A R E N OT possible repercussions.
good as their contact book; a reference G E T T I N G W H AT T H E Y N E E D TO W R I T E One of the most famous examples
to who they knew and their ability to get T H E S TO RY YO U, T H E R E A D E R , D E S E RV E . of this came about 10 years ago when
the inside word on a story. Now there are D O E S H E H AV E A P O I N T? Rugby League was rocked by a salary-
plenty of old-school reporters who still cap scandal at the Bulldogs. This wasn’t
know the people they report on personally. But the next generation exposed, as it should have been, by a full-time footy reporter. Rather,
isn’t as well connected. They have put more time into getting to know by two wonderful old-school reporters Kate McClymont and Anne
the gatekeeper. ‘PR’, ‘Media Liaison’, ‘Advisor’, ‘Communications Davies. What started as stories about property development ended with
Professional’ – going by many names, they’e skilled and often nice the team being stripped of all their points and receiving a hefty fine.
people. But all become an almost impenetrable barrier between the We need more of these genuine outsiders in the Australian media.
media and what they are trying to write or film or talk about. Who aren’t afraid of the buffer, who don’t obsess about their standing
Politicians love the buffer; it means they are rarely caught off guard in the press gallery in Canberra, or play the access game with business
PHOTOGRAPHY: GETTY IMAGES.

in an interview. There is a group of people to handle not just media
requests for comment on the day’s news, but dozens of people who use
‘access’ to string the media along. A year ago, I was told by one of them if
I was nicer to their minister on TV then he would give me an interview.
We never spoke again and suffice to say my editorials didn’t change.
For a real democracy to work, you need to believe that there are people
who ask hard questions and make powerful people feel uncomfortable,
holding them to account for their inconsistencies and the consequences
of the decisions they make.
leaders or celebrities.
From our end, when trust has never been lower in the media, we – the
media – need to be fearless to help restore some faith in our profession.
So, if you are in the business, my advice would be to break free of the
pack and remember, while the media companies pay your wage, we
only owe one group true loyalty: the people who turn to us to know
what’s really going on.
Paul Murray LIVE, Monday-Thursdays airs at 9pm AEST
on SKY NEWS LIVE

56 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
Hugh Jackman and
the new TimeWalker
Chronograph
The new TimeWalker Chronograph is inspired
by performance and the spirit of racing.
montblanc.com/timewalker
Crafted for New Heights.

Sydney · Melbourne · Brisbane · Perth

1300 36 4810
 W H AT ’ S T R E N D I N G I N P O P C U LT U R E R I G H T N O W

T H E

BRIEF
EF

BLADE
RUNNER
2049
T H I R T Y- F I V E Y E A R S A F T E R T H E C U LT S C I - F I C L AS S I C H I T
S C R E E N S, W E P R E PA R E TO R E V I S I T T H E DYS TO P I A N U N I V E R S E
T H AT B L E W M I N D S A N D C H A N G E D C I N E M A FO R E V E R .

E D I T E D BY JAKE M I LL AR
T H E BRIEF
I
t’s already dark in LA, but Denis
Villeneuve is still on set. This is the
pointy-end of production, the phase
when sound and visual effects are
tweaked and re-tweaked and,
hopefully, everything finally all
comes together. It’s been a 13-hour day.
“We’re running towards the finish line,” he
says. “It’s the last step, but it’s really crucial.
To make the shot look good is not that
difficult, but we want to make it look great
– something that will make a statement. But
it’s the fun part, it’s the icing on the cake.”
The cake, of course, is Blade Runner 2049.
Rumoured to be in the works since at least
2009, the sequel has been through a few
different cooks and a few different recipes.
Ridley Scott, who directed the original, was
reportedly on board – and then he wasn’t.
Ditto Christopher Nolan. And then in early
2015, it was finally official: Canadian Denis
Villeneuve would be in the director’s chair.
Best known for Prisoners, Sicario and
Oscar-nominated Arrival, Villeneuve
approached the project as most people would:
with equal parts excitement and sheer terror.
“It was not a decision I took lightly,” he
reflects. “First of all, I was one of the biggest
fans of the original movie – it was a big part
in my desire to become a filmmaker. The
movie really influenced me and I’m such a fan
of Ridley Scott’s work. To make a sequel to
such a masterpiece, I was like... wow. I was
pretty moved that the producer asked me
to take that challenge.”
There are many ways to make a bad sequel
to a sci-fi classic like Blade Runner, but there
are two main ones. The first is to piss off fans
of the original. The second is to make
a nerd-fest that can only be enjoyed by fans of
the original. Coming three decades after the
first movie hit screens, there’s every chance
your average millennial won’t have seen the
first movie. Or even heard of it.
TH E S E T O F TH E
S EQ U E L WAS M AD E
A LM OST E NTI R E LY
W ITH O U T TH E U S E
O F G R E E N SC R E E N .
“It was something that we made sure was
in the screenplay right from the start, that
there would be a balance,” says Villeneuve.
“We had to make sure we didn’t repeat things
that people already know, but also that we
don’t lose new people who don’t know the
universe so well.”
The film will again be set in LA but takes
place 30 years after the events of the original.
It stars Ryan Gosling as LAPD Officer K,
who uncovers a secret that threatens the
future of humanity. Original lead, Harrison
Ford, reprises his role as Rick Deckard, and is
also joined by Jared Leto and Robin Wright.
When it was released in 1982, Blade Runner
was hailed as a visual masterpiece, earning
a swag of awards, as well as two Oscar
nominations. But when it came to recreating
the eerie, futuristic atmosphere of the sequel,
Villeneuve was keen to avoid taking the
green-screen route.
F R O M LE F T:
D I R EC TO R D E N I S
V I LLE N E U V E O N
TH E S E T O F B LAD E
R U N N E R 204 9;
RYA N G OS LI N G AS
K W ITH CO - STAR
A NA D E A R M AS .
“We built almost
everything...
It was pretty
amazing to walk
onto those sets.”
“I strongly believe that it’s better for actors
if there is a real environment,” he says. “We
built almost everything – we built the road,
we built the streets. It was a pretty amazing
experience to walk onto those sets. I never
thought I would see something like this
in my life.”
Following such an epic production, it
might be easy to assume Villeneuve’s next
project would be something smaller. One
of the indie numbers he directed, back before
Hollywood came calling, perhaps.
Not quite. Villeneuve’s next film is Dune
– yes, the epic, complex series of sci-fi novels
that David Lynch famously tackled back
in 1984 and which is widely considered the
PHOTOGRAPHY: FRANK OCKENFELS; STEPHEN VAUGHAN; ALCON ENTERTAINMENT.
worst film of his career (it is). Presumably,
Villeneuve looked back on that whole fiasco
and thought: where do I sign?
“Right now, my brain is totally focused
on this,” he says. “It was quite a journey
to do Blade Runner and I’ve really loved it.
But it requires a huge amount of energy
to do a project like this and I would
definitely need to take two weeks off [before
starting Dune] – for my sanity.”
Still, he wouldn’t have it any
other way.
“I lived in a small town and
most of the movies I could
access were American movies,
made in Hollywood,” he recalls
of his Québécois upbringing.
“So this has been a dream,
since my youth. But I never
thought I would have the
opportunity to do it.”
B LAD E R U N N E R 204 9 I S I N
C I N E M AS OC TO B E R 5
 #BornToDare

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 T H E BRIEF
FIVE THINGS
TO  TA K E YO U R
M I N D  O F F G A M E
The
O F T H R O N E S .
hit
list
THE
EVENT
There is still a chance for you
to get tickets to Antidote,
this year’s most exciting
ideas festival. Held at the
Sydney Opera House, it
brings together thinkers
from all over the world to
discuss politics, fake news,
climate change, money and
more. Among this year’s
line-up are the editors of
satirical news site The Onion
and Dutch brainiac Rutger
Bregman, author of the
sensational book Utopia for
Realists. Get in fast.
‘ANTIDOTE: A FESTIVAL OF
IDEAS, ART & ACTION’ RUNS
FROM SEPTEMBER 2-3;
ANTIDOTE.SYDNEY
OPERAHOUSE.COM
64 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
T H E 6 9 T H A N N U A L E M M Y A W A R D S I S TA K I N G P L A C E O N S E P T E M B E R 1 7 A N D W I L L B E H O S T E D B Y
S T E P H E N C O L B E R T – W H O S E O W N S H O W I S N O M I N AT E D F O R B E S T VA R I E T Y TA L K S E R I E S .
THE BOOK
He’s best known as a fashion
photographer who’s shot
some 200 covers of Vogue.
But Mario Testino’s latest
tome features barely any
clothes at all. With the likes
of Kate Moss and previously
unseen images, Undressed
is a series of intimate
portraits that offer a fresh
perspective on the way we
perceive bodies and beauty.
Or, at least, that’s what we’ll
be telling the mother-in-law
when she spots it on the
coffee table.
UNDRESSED, $49.99, BY
TASCHEN; AU.NEWHOLLAND
PUBLISHERS.COM
THE ALBUM
Four years since their last effort,
Trouble Will Find Me, The National
are back with their seventh
studio album. Entitled Sleep Well
Beast, it was produced by Aaron
Dessner, with some help from
Matt Berninger and Bryce
Dessner. With song titles
THE
including ‘Day I Die’ and ‘I’ll Still
Destroy You’, it is unlikely to
COLLAB
break with the band’s tradition
of creating music that’s equal
parts brooding and brilliant.
SLEEP WELL BEAST IS OUT ON
In 2015, Mr Porter released its SEPTEMBER 8
first ‘costume to collection’ in
partnership with blockbuster
Kingsman: The Secret Service.
It went gangbusters with the
line now in its sixth season. So
it’s little surprise they’re joining
forces for the film’s sequel.
Designed alongside director
Matthew Vaughn and costume
designer Arianne Phillips, the
THE TV SHOW
new instalment has everything
from suiting to accessories.
KINGSMAN: THE GOLDEN
Paranormal Aussie drama Glitch is finally back for season CIRCLE IS IN CINEMAS
two. It stars Patrick Brammall as a small-town cop, whose SEPTEMBER 21; THE MR
otherwise regular day is interrupted by the Risen; a group PORTER x KINGSMAN
of people back from the dead. It also features Hannah COLLECTION IS ON SALE
Monson and emerging talent Sean Keenan (both pictured). SEPTEMBER 7;
GLITCH AIRS ON ABC FROM SEPTEMBER 14 MRPORTER.COM
T H E BRIEF
TELEVISION
BoJack
Horseman
is back
AS T H E A N I M AT E D S H O W
R E T U R N S FO R A FO U R T H
S E AS O N , W E CATC H U P W I T H
I T S M U LT I TA L E N T E D, D O U B L E-
BARRELLED SHOWRUNNER,
WRITER – AND SOMETIMES
VO I C E AC TO R – R A P H A E L
B O B -WA KS B E R G .
I
t’s a tale as old as time itself. A horse
lands a starring role in a ’90s family
sitcom, makes his fortune, then lives
out the rest of his days in a flashy
Hollywood Hills pad – growing more
bitter and disillusioned and drunk,
by the day. That’s the elevator pitch, anyway.
Starring Will Arnett as BoJack; Amy
Sedaris as his agent, a cat named Princess
Carolyn; Alison Brie as his (human)
girlfriend, Diane; and Aaron Paul as his
(also human) housemate, Todd, the Netflix
series may sound a little offbeat.
“I never really thought it was that weird,”
protests Bob-Waksberg. “You’ve seen Who
Framed Roger Rabbit, right? That’s what it
is – humans and animals.”
He’s not wrong. But it’s also a hilarious,
often dark, look at fame, success, love and life
that might just be the smartest show on TV.
We talk to the man who started it all.
66 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
S TA R O F G A M E O F T H R O N E S A N D 2 0 1 8 ’ S A Q U A M A N , J A S O N M O M O A W I L L B E AT T E N D I N G O Z C O M I C -
C O N I N B R I S B A N E , S E P 2 3 - 2 4 , A N D S Y D N E Y, S E P 3 0 - O C T 1 ; O Z C O M I C C O N . C O M
WILL ARNETT STARS
AS BOJACK HORSEMAN,
A WASHED-UP ACTOR;
AARON PAUL PLAYS
TODD, HIS DEADBEAT
HOUSEMATE.
GQ: Is season four all done
and dusted?
Raphael Bob-Waksberg: Yeah,
it’s been delivered. So if
something big happens in the
world that we need to address,
well, it’s too late.
GQ: We live in uncertain times.
Has that ever happened to
you before?
RB: Occasionally. But very
rarely in a major way where
we’ve had to change a story or
something. It’s hard because
we want our show to be
somewhat timely but somewhat
timeless, so it will hold up for
a few years. We had a joke
about Carrie Fisher this season,
so we had to go back into the
recording booth and change it.
Hopefully nothing else
happens, but at a certain point
you have to be OK with it.
GQ: Four seasons is a big deal.
Do you ever think about the
Seinfeld thing – going out on
top, not milking it?
RB: Oh no. I’ll milk it for as
long as I can. When I’m out of
stories, that’ll be time for me
to end it – not when America
or the world has lost interest.
Though I guess if Netflix has
lost interest, they’ll tell me
it’s done.
GQ: They must have all kinds
of stats about who’s watching,
when they’re zoning out.
Is that helpful?
RB: I think Netflix has access
to all of those stats, but they
don’t share them with me.
I remember hearing stories
about House of Cards and
early on, that they would call
[executive producer] David
Fincher and tell him when he
was losing people. He was like:
‘I don’t want to know. Never tell
people that’. It would drive me
crazy. All I need to hear is:
‘Make more’.
GQ: A doco called Showrunners
described the job as painting,
while writing a novel, while
doing your taxes. Is it?
RB: I don’t know. We’ve entered
this era of the ‘showrunner
as auteur’ – like they’re this
mysterious genius who has
to do every single job. I don’t
think that’s necessarily how
good shows get made. For
every Louis CK who’s incredibly
talented, there are five other
executive producers who think
they’re that, but are total
megalomaniacs who just
make garbage.
GQ: You’ve got an email on
display in your office from a fan
who suggested you’d forgotten
to add tails to the characters.
RB: Yeah. What I really like
about that email is this person
felt so passionate about what
we’re creating. One of my
favourite shows, ever, is Mad
Men and I loved it in a way that
felt so personal. So I like that
people feel strongly enough
that someone could love
everything about the show –
except, ‘why don’t they have
tails?’ That’s the one thing
holding it back.
GQ: Maybe something for
season four, then?
RB: Yeah, we have a bit of
time before it premieres.
Maybe we’ll try to squeeze
in a few tails.
SEASON FOUR OF BOJACK
HORSEMAN STREAMS ON
NETFLIX SEPTEMBER 8
T H E BRIEF F O L L O W I N G PA B L O E S O B A R ’ S D E AT H , T H E T H I R D S E A S O N O F
NARCOS PICKS UP WITH THE DRUG BARON’S SUCCESSORS,
COLOMBIA’S CALI CARTEL. IT AIRS ON NETFLIX ON SEPTEMBER 1.

INTERIORS

Get the
inside
scoop
G I V E YO U R H O M E A S T Y L E M A K E OV E R , W I T H T H E S E
INTERIORS TIPS FROM THE EXPERTS WHO KNOW Ask the
experts
H O W TO M A K E A G R E AT F I R S T I M P R E S S I O N .

T
LESS IS MORE
here are usually two options when you The first five minutes a guest
spends in your home will
travel. Find a hotel, or get a feel for leave a lasting impact during
the area and book a short-term stay their stay. Avoid leaving out
in a rental home. But it turns out there’s too many household items –
leftover food in the fridge or
a third option. Luxico offers the best pantry, too many toiletries
of both worlds, with a range of high-end in the bathroom, appliances in
private properties available for short- or long-term the kitchen – which can make
people feel less like guests
stays that combine luxury (cheese and wine platters, and more like they’re invading
24-hour concierge), with the feel of staying with your space.
a local (shopping tours, restaurant recommendations). ADD SOME PERSONALITY
We asked Luxico’s experts for their tips for making While too many knick-knacks
a striking first impression – and what it takes to can make a home look messy,
you don’t want it to look too
turn a good home into a great one. sterile, either. Soft furnishings
To browse properties or find out more about listing like throws or pillows are
your home, head to luxico.com.au. a good way to add a personal
touch to your home, and
carefully placed artwork will
inject a pop of colour and give
a space an instant facelift.

BRING THE OUTDOORS IN

Cut flowers may look nice
when you buy them, but they
don’t tend to last long and will
have the opposite effect once
they begin to wilt. Instead,
potted plants last longer
and help bring a room to life.
T H E BRIEF F O O F I G H T E R S , F A L L O U T B O Y, R I N G O S TA R R A N D S Y N T H - L O V I N G ’ 8 0 S M U S I C I C O N
G A RY N U M A N A R E E AC H R E L E AS I N G N E W A L B U M S O N S E P T E M B E R 1 5 .

THE
P L AY L I S T
LCD Soundsystem
AMERICAN DREAM
In 2011, LCD Soundsystem said
they’d never be back. But last
year, they finally were –
headlining Coachella,
announcing Aussie shows
and even a new album.
American Dream is the group’s
first in seven years and heralds
a return to form. Does it live up
to the synth-soaked

Josh
super-hype? Put on your
dancing shoes and find out.
O U T S E P TE M B E R 1;
LC DSO U N DSYSTE M .CO M

Homme
wants you
to dance
W I T H A L L T H AT’ S H A P P E N E D I N T H E
The Horrors
V
Speaking of synths, fans of
‘80s new wave, post-punk
FO U R Y E A R S S I N C E T H E I R L AS T A L B U M , electronica and industrial
YO U M I G H T E X P E C T Q U E E N S O F T H E trance will find their happy
S TO N E AG E TO P R O D U C E A DA R K , place in this genre-blurring
B R O O D I N G FO L LO W- U P. I F S O, record. Teaming up with
legendary Grammy, Oscar,
YO U ’ R E  I N  FO R A S U R P R I S E . Golden Globe and Brit

W
hen Queens of the Stone Age
announced they would be
working with Mark Ronson on
new album, Villains, the internet
– as it always does – responded
with many an opinion. Granted,
the loudest protests came from diehard Queens fans
who still define front man Josh Homme by his former
heavy-rock outfit, Kyuss. Still, the idea that a producer
so fond of big-band brass was working with the stoner
rock legends was widely considered sacrilege.
But Ronson turned out to be Queens’ secret weapon.
Literally – Homme had previously said, “no special
guests will feature” on the album, and the producer was
hidden from view, right up until its announcement in
June. But the signs were there. 2013’s …Like Clockwork
award-winning producer Paul
Epworth has paid off, as this is
one record that should not be
glazed over, even if it does
a little bit... He’s very beat-centric, like we are; so there have an early ’00s tinge.
O U T S E P TE M B E R 2 2;
was so much overlap between what he likes and what we TH E H O R R O R S .CO.U K
like... which I think is part of the cool surprise of it all.”
Homme has never cared much for critics when it
comes to his band’s distinct evolution. “It’s not about
trying to recreate a hit,” he says. “That’s for somebody
else. This is about taking a chance that may make all
our fans say, ‘I wish you hadn’t done that’.”
He co-credits this ‘seize the moment’ headspace to
Iggy Pop, who he worked with on the icon’s Post Pop
Depression, released last year. “The only thing you really alex cameron
control is letting go. If I make something for myself FORCED WITNESS
that I feel is honest and real, then I can deal with the If cinematic-‘80s-road-noir
was a genre, then Alex
worst criticism in the world. I know not everyone’s Cameron has it conquered
gonna like it. But I need to make something I believe in with album number two.
and that my guys believe in – I’d rather fail out of new Recorded in Berlin, Los
Angeles and Las Vegas,
WORDS: NOELLE FAULKNER.

saw cameos from Dave Grohl and Elton John, among
others, and Homme had only recently joined Ronson
for Lady Gaga’s epic single ‘Perfect Illusion’.
“I saw how Mark worked and after watching him for
about an hour, I knew,” says Homme, whose son
introduced him to the “tight and vacuous” groove of
‘Uptown Funk’, a place close to where he wanted to
take Queens. “I knew I wanted to change our sound
mistakes than make the old ones, you know?” this high-concept LP from
The result is Villains, a beat-conscious album that – the ex-Seekae frontman
features Angel Olsen, Brandon
one way or another – just wants to get you moving. “My Flowers (The Killers), epic
goal has always been to walk between the raindrops and horn from Roy Malloy – and
not get wet” quips Homme. “This record is about just undercurrents of dark
hedonism. O U T S E P TE M B E R 8;
trying to grab people by their shirt collar and say: ALEXCAMERONONLINE.NET.AU
‘You can use your feet – to dance or to walk away –
but you can’t sleep’.” VI LLAI N S I S O UT N OW.

70 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
BORN IN LES GENEVEZ, SWITZERLAND*

*
Residence of Claude Bernard.
The historic home of clock and watchmaking for 450 years.
w w w.claudebernard.ch

VIC 8th Avenue Watch Co., Emporium Melbourne, 03 9639 6175 | 8th Avenue Watch Co., Westfield Doncaster, 03 9840 6304 | 8th Avenue Watch Co., Chadstone S/C, 03 9569 7652 | Avedis Jewellery, Karingal,
03 9789 2388 | Colman’s Watch & Clockmakers, Malvern, 03 9824 8244 | Filigree Jewellers, Williamstown, 03 9397 8968 | JHJ Creative Jewellery, Warragul, 03 5622 1010 | John Wohlers Jewellers, Wangaratta,
03 5721 2477 | R.B. & J.A. Hall, Seymour, 03 5792 1301 | Ringwood Jewellers, Ringwood, 03 9870 9855 | Sacks the Jewellers, Warrnambool, 03 5562 2261 | Temelli Jewellery, Highpoint, 03 9317 3230
Temelli Jewellery, Knox City, 03 9800 0799 | Temelli Jewellery, Southland, 03 9639 5556 NSW Crown Jewellery, Ultimo, 02 9281 0686 | Diamond & Gold Store, Parramatta, 02 9891 5047 | Diamond & Gold Store,
Burwood, 02 9747 2616 | Hennings Jewellers, Campbelltown, 02 4626 3529 | Hennings Jewellers, Narellan, 02 4626 3529 | Hennings Jewellers, Oran Park, 02 7903 0809 | Joyce Jewellery, Haymarket,
02 9212 3166 | Kristopher Graydon Jewellers, Wagga Wagga, 02 6921 3000 | Statewide Jewellers, Blacktown, 02 8676 6125 | Unique Jewellers, Figtree, 02 4244 4515 | Wamada Jewellery, Haymarket,
02 9281 8182 | York Jewellers, Penrith, 02 4721 0780 | Mardo Designer Jewellery, Randwick, 02 9326 7311 ACT Arnold & Co., Canberra, 02 6162 4599 QLD 8th Avenue Watch Co., Pacific Fair S/C,
07 5575 4883 | Argyle Jewellers, Mt Gravatt, 07 3349 0212 | Ian Hall Watchmaker & Jeweller, West End, 07 3844 3877 | Just Watches, Robina, 07 5580 8889 | Phil Peel Leading Edge Jewellers, Rockhampton,
07 4927 1855 | Richardsons Jewellers, North Lakes, 07 3482 2555 | Showcase Jewellers, Capalaba, 07 3245 7477 | Springfield Jewellers, Springfield, 07 3381 0790 SA JJ Brown Watchmakers, Adelaide,
08 8223 3207 | Lippitts Manufacturing Jewellers, Kilburn, 08 8359 4285 | TAS One.Two.One, Hobart, 03 6231 6121 | Watsons Showcase, Launceston, 03 6331 7646 WA All About Time, Balcatta, 08 9349 0600
Creations Jewellers, Fremantle, 08 9433 2331 | The Watch Spot, Perth, 08 9421 1093 NZ Capital Watch Services, Wellington, 64 4 472 9171 | Kowhai Coast Jewellers, Warkworth, 64 9 425 8342
T H E BRIEF A M O N G T H E S TA R - S T U D D E D C A S T O F T H E E M O J I M O V I E A R E S O F Í A V E R G A R A , J A M E S C O R D E N ,
C H R I S T I N A A G U I L E R A A N D S I R P AT R I C K S T E W A R T, W H O V O I C E S A C H A R A C T E R C A L L E D P O O P.

FILM

How to make
a Hollywood blockbuster
W I T H T H E E M O J I M OV I E S E T FO R R E L E AS E , I T’ S O F F I C I A L : A N Y T H I N G CA N B E T U R N E D I N TO A F E AT U R E F I L M . A F T E R
A L L , T H E P I R AT E S O F T H E CA R I B B E A N S E R I E S H AS M A D E N E A R LY $ 5 B N – A N D T H AT’ S B AS E D O F F A D I S N E Y L A N D
R I D E . W E ’ V E P U T TO G E T H E R A C H A R T FO R C H O O S I N G T H E P LOT O F YO U R N E X T B OX- O F F I C E S U C C E S S .

DO YOU HAVE AN
O R I G I NAL I D E A?

YES WHO’S GOT

THE TIME?

ARE YOU AGREED

WES ANDERSON?

YES! ERM, NO WHAT GENRE?

OK. WHO’S IT FOR? ACTION COMEDY

WITH
KIDS ADULTS STARRING ADAM
SANDLER?

IS LEO
ANIMATION? ON BOARD? VIN NO! YES
DIESEL? THE ROCK

YOU MEAN
DWAYNE A REMAKE
OBVIOUSLY YES! WHO? OF CLASSIC UGH. OK
JOHNSON?
‘80S TV
SHOW
WITH ANIMALS?
THANK GOD YIKES I GUESS

YEP NO LIKE
CHEERS?
IS IT A BIOPIC? A FAST AND THE
FURIOUS SEQUEL
A LONELY
ROBOT WHO
DISCOVERS
EMPATHY? YES NO AREN’T THERE
ALREADY 8
OF THOSE?
PHOTOGRAPHY: GETTY IMAGES; ALAMY.

SOUNDS WHY YEP

A BIT NOT?
HIGH-BROW EXACTLY

FAIR FINE!
ENOUGH

A FA M I LY SOM E TH I N G
LITE R ALLY OF F I DG E T E LO N ABO UT FAST AN D TH E CHEERS: AN AF FAB LE
ANY TH I N G E LE PHANTS S PI N N E R S MUSK S PAC E F U R I O U S IX TH E MOVI E I D I OT

72 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
©2017 COACH®

JAMES FRANCO Introducing The NEW FRAGRANCE for MEN

 T H E BRIEF
TECH
Yes,
tablets are
still a thing
S M A R T P H O N E S A R E G E T T I N G B I G G E R , L A P TO P S A R E G E T T I N G L I G H T E R ,
A N D  TA B L E T S A R E F E E L I N G T H E S Q U E E Z E . B U T C O M P E T I T I O N M E A N S
I N N OVAT I O N . H E R E A R E F I V E O F T H E B E S T TA B L E T S O U T R I G H T N O W.
1. HP
You could argue that the current
HP ‘Spectre X2’ is the best-looking
tablet around. The new one is better
and lighter. The Bang & Olufsen logo
on the side, however, is like putting
a Porsche badge on your mountain
bike. With Windows 10, Intel Core i5
processor power and 256GB SSD
storage, plus two USB type C ports,
it’s hardly lacking. The four
speakers are fine but headphones
are better, and the screen has been
updated to 3000 x 2000 resolution.
It’s a smart looking machine, but it
would want to be at that price point.
‘S PEC TR E X2’, F R O M $1 9 9 9,
BY H P; H P.CO M . AU
2. Microsoft
It’s tried, tried and tried again, but
finally Microsoft has come up with
a tablet to challenge the iPad. The
‘Surface Pro’ mixes the best in
tablets with the best in laptops. Full
Windows 10, a specific tablet mode,
USB port, SD card slot and
a pin-sharp 12.3-inch display. Pair
with the optional keyboard cover
(the best in class) and stylus, and
you’ll want to lose your laptop.
You’ll pay for the convenience,
especially because you need to
74 G Q ..COM
COM . AU S E P TE M B E R/OCTO B E R 20 17
ignore the base model driven by
a Core m3 processor and splash out
on at least the Intel Core i5 model to
get the most out of Windows 10.
‘S U R FAC E PR O’, F R O M $1 1 9 9, BY
M I C R OSO F T; M I C R OSO F T.CO M . AU
3. Lenovo
The ‘ThinkPad’ series (formerly
of IBM) is famous in business, but
the ‘Miix 720’ tablet is worthy
of the same clientele. This Windows
10 tablet can only be optioned with
a powerful Intel Core i5 or i7
processor and also packs a 12-inch
QHD+ screen, USB type C port and
a sizeable 256GB SSD. Unlike most
others it comes with the keyboard
(a respectable typing experience)
and stylus. While the ‘ThinkPad X1’
tablet is also a contender, the
‘Miix 720’ is newer, cooler and
better value.
‘M I IX 720’, F R O M $1 6 9 9,
BY LE N OVO; LE N OVO.CO M . AU
4. Lenovo
Android tablets have gone a bit
quiet of late. We’re waiting patiently
for the Samsung ‘Galaxy Tab S3’
and we didn’t quite get the ‘Google
Pixel C’. But Lenovo has plugged
on with Android with its truly unique
W H E TH E R FO R B U S I N E S S
O R PLE AS U R E , TH E S E A R E
O U R TO P TA B LE T P I C KS :
3
‘Yoga Book’. As an operating
system  in tablets, Android is
becoming an also-ran. It doesn’t
have the clout of Windows 10
or even iOS, but the ‘Yoga Book’
redeems itself with a dual screen
that changes depending
on your use. 4
‘YOG A B O O K’, F R O M $7 9 9,
BY LE N OVO; LE N OVO.CO M . AU
5. Apple
With the ‘iPad Pro’ now available
in a 10.5-inch model, Apple has
mixed convenience with power.
The retina display with 120Hz
refresh rate redefines stunning,
while the Apple Pencil and Smart
Keyboard accessories (sold
separately) almost make it a laptop
replacement. Almost. But the
biggest win will be when the free 5
iOS 11 arrives in spring with a Dock,
the sensational Files app (a sort
WORDS: DAMIAN FRANCIS.
of iCloud Drive replacement),
Drag and Drop and updated
multi-tasking. It will be more like
your MacBook than ever before.
Still no native USB, but at least
Apple has been kind enough to
leave the headphone jack.
‘ I PA D PR O’, F R O M $97 9,
BY A PP LE; A PPLE .CO M . AU
T H E BRIEF S TA R R I N G E M M A S T O N E A N D S T E V E C A R E L L , A N D B A S E D O N T H E C O N T R O V E R S I A L 1 9 7 3 T E N N I S M AT C H
B E T W E E N B I L L I E J E A N K I N G A N D B O B B Y R I G G S , B AT T L E O F T H E S E X E S I S I N C I N E M A S O N S E P T E M B E R 2 8 .
Get your
culture fix
A MAJOR EXHIBITION OF ONE
O F T H E W O R L D ’ S G R E AT E S T
L I V I N G   PA I N T E R S I S C O M I N G
TO  Q U E E N S L A N D ’ S M O D E R N
I
A R T G A L L E RY. D O N ’ T M I S S I T.
n 2012, a painting from Gerhard
Richter’s Abstraktes Bild series sold for
$35m – the highest price ever paid
for a work by a living artist. It was
a record the German artist broke the
following year, when his Domplatz,
Mailand was bought for $39m – only for
Richter to again outdo himself, when another
Abstraktes Bild was snapped up for $50m in
2015. In short, Richter is a pretty big deal.
READING
LIST
TH R E E AWAR D -
W I N N I N G AUTH O R S
W ITH N E W R E LE AS E S
S E T FO R B E ST S E LLE R
LI ST S – AN D O U R
B E DS I D E TAB LE .
76 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
CLOCKWISE
FROM LEFT:
‘SEPTEMBER’ 2009;
‘ST ANDREW’ 1988;
‘ELLA’ 2007;
‘PHANTOM
INTERCEPTORS’ 1964.
But even if you don’t have
a handy $50m lying around,
you’ve still got a chance to enjoy
his work, thanks to Queensland’s
GOMA. The first major
exhibition of his work in
Australia, Gerhard Richter: The
Life of Images features more than
90 pieces that showcase the
artist’s broad range of styles –
from photorealistic portraits to abstract
landscapes and archival project Atlas,
a collection of photographs and newspaper
clippings that Richter has been working
on since the mid ’60s. In addition to the
artworks, there will also be a program of
talks, tours and discussions by local and
international experts.
G E R HAR D R I C HTE R : TH E LI F E O F I MAG E S,
R U N S F R O M OC TO B E R 1 4 - F E B R UARY 4 ,
20 1 8; Q AG O M A .Q LD.G OV. AU
Salman Rushdie Jennifer Egan Jeffrey Eugenides
He’s received a Booker
Prize, a knighthood – and
is still enduring a fatwā
Egan published her first
novel, The Invisible Circus,
back in 1995. But it was her
Another Pulitzer Prize
winner, Eugenides is best
known for his acclaimed
from Iran’s Ayatollah fourth book, A Visit from novels Middlesex,
Khomeini. This, the Good Squad, that won The Marriage Plot and The
his twelfth novel, focuses the Brooklyn-based writer Virgin Suicides. Fresh
on the wealthy Golden international acclaim – and Complaint is the author’s
family through the eyes a Pulitzer Prize. Manhattan first collection of
of an aspiring filmmaker, Beach is Egan’s long- short stories. For those new
touching on some recent awaited follow-up, set in to Eugenides, it’s a handy
key political touch points. New York during the Great intro; for fans of his work, it’s
TH E G O LD E N H OU S E , Depression. MAN HATTAN a no-brainer. F R E S H
$3 2 . 9 9, O N SALE B EAC H, $3 2 . 9 9, O N SA LE CO M PL A I NT, $3 4 . 9 9,
S E P TE M B E R 7; OC TO B E R 3; O N SA LE O C TO B E R 5;
PE N G U I N .CO M . AU H AC H E T TE .CO M . AU H A R PE R CO LLI N S .CO M . AU
FROM THE FRONTMAN
TO THE MUSIC FAN
WE’VE GOT YOUR FIT

STEV E SMY TH
F RO NTMA N

# LI VEIN MU SI C
FOL L OW T H E ST ORY
AT L IVEINM US IC.CO M. AU
T H E BRIEF B A S E D O N S T E P H E N K I N G ’ S 1 9 8 6 N O V E L , I T S TA R S B I L L S K A R S G Å R D A S F R E A K Y C L O W N , P E N N Y W I S E
– T H E R E A S O N Y O U W O N ’ T B E G E T T I N G A N Y S L E E P A F T E R I T H I T S C I N E M A S O N S E P T E M B E R 7.

FASHION

Time to upgrade
your wardrobe
AS T H E F R E N C H FAS H I O N H O U S E P R E PA R E S TO R E L E AS E

T
A  N
N E W   CA P S U L E C O L L E C T I O N , G Q TA L KS TO D E S I G N E R LU CAS
O S S E N D R I J V E R – T H E M A N B E H I N D YO U R S N E A K E R S O B S E S S I O N .

here was a time when high-end sneakers

seemed like a contradiction in terms.
Now, they’re everywhere. And the man
who many credit with starting the trend
is Lanvin’s head of menswear, Lucas
Ossendrijver, who first introduced them
more than a decade ago. His latest move is to join
online boutique Matchesfashion.com for an exclusive
capsule collection. And, yes, there will be sneakers.

GQ: You joined Lanvin back clothes more like women

in 2006. What’s been the
biggest change in fashion
since then?
Lucas Ossendrijver: There
is much more interest in
fashion than there
used to be. The way we live    about fashion.
now means information
about fashion is
immediately available
worldwide, no matter
where you are. Fashion has
become democratic and
everybody has an opinion
about it. It is less elitist
than it used to be.
GQ: Has the role of
a designer changed?
LO: In men’s we started
doing pre-collections,
so instead of two shows
it’s four collections now.
This constant demand for
newness put a lot more
pressure on us designers.
Men started to buy
do – less about needs, and
more impulsive. You have
to deal with those things
but it also creates new
opportunities for us to
adapt. That’s what I love
GQ: High-end sneakers are
everywhere now. Did you
think the trend would be
as big as it is today?
LO: I am very proud of how
they have developed over LO: I have the most boring coat. I have a huge not too wide. A well-made
the years. Trainers play wardrobe! When I design,  wardrobe full of Lanvin shirt in light blue or white
an important part within I project on somebody else and sometimes I dig out – good for all occasions; 
the men’s accessory – it is a fantasy about older pieces to rediscover it can be dressy or casual
collection, almost like someone else, otherwise and wear them. – and the fit is important.
handbags for women. it’s too personal. I think GQ: What are three things Not too tight! And finally,
Personally, I wear them about fabrics, shapes, every man should have in a tailored jacket. Again fit
most of the time and every colours and textures 24 his wardrobe? and construction are very
season I try to renew and hours a day – so I do not LO: A good pair of jeans important, so buy less but
adjust the proportions. want to think of how I look – either old vintage or raw buy quality. Nothing
Gradually, they have as well. It’s almost and new – I don’t like new is worse than a badly cut
become an iconic product. as a uniform: I always wear jeans that look ‘fake’ old. suit or jacket; in tailoring
GQ: How would you jeans, T-shirt and a shirt It also has to have the right it really shows.
describe your own style? and then maybe a tailored cut – not too tight but also Matchesfashion.com

sneak peek
Here’s what to expect
from the Lanvin x
Matchesfashion.com
collaboration.
From left:
Sneakers, $525,
Canvas backpack, $1020,
Wool trousers, $738,
Wool ‘New Wave’ jacket, $1595.
78 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
FROM THE FRONTMAN
TO THE MUSIC FAN
WE’VE GOT YOUR FIT

MA RTY DOY LE
RADI O P RESENTER

# LI VEIN MU SI C
FOL L OW T H E ST ORY
AT L IVEINM US IC.CO M. AU
 THE COLUM
COLUMNIST
I
fly long haul at
least once a month.
I don’t enjoy sitting
in a cramped
seat, fretting
about deep vein
thrombosis. Nor am I
a fan of breathing recycled
air that annihilates my
immune system. But I do
love several hours of more-
or-less uninterrupted me
time. Time to sleep, time
to watch movies, time to
think, time to write.
Without the constant distraction of the
internet, I find a little window seat to be an
extremely productive hot desk. And though
long flights are physically draining, the
headspace is mentally restorative.
But that is all changing thanks to the
insidious creep of in-flight wi-fi. It started off
as a novelty. “Oh wow, I can receive emails
at 30,000 feet!” Only a few planes had it,
and only on a few routes. But now they’ve
gone and rolled it out globally and you can’t
escape it. The last remaining enforced refuge
from the incessant digital bombardment has
gone. There is no going back. You might be
on a red-eye, wedged up into the armpit of
a warthog, but that’s no excuse not to reply to
your boss’s emails or to check in on Facebook.
The downside of never having to switch off
your phone is that you’re never able to switch
off your phone. We are the first generation
to become addicted to these devices so the
long-term effects are unknown. But in 30
years’ time I believe there’ll be a public health
outcry, similar to the one about cigarettes,
due to their ruinous psychological impacts.
I used to have a concentration span greater
than 10 minutes, now I feel like I have ADD.
I love and hate my smartphone, the little
wanker. “If you don’t stop stroking it, you’ll
go blind.” I hate that I can’t put it down, that
I feel anxious if it is out of arm’s reach or if
the battery suddenly plummets to sub-10 per
80 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
DAN ROOKWOOD
COUNTING THE
COST OF SKY-
HIGH WI-FI.
cent. My upper right thigh is so used to the
buzz of an incoming alert in my pocket I get
those phantom vibrations all the time.
Remember that oft-quoted statistic that
men think about sex every seven seconds?
That was before the iPhone when men used
to stare into middle distance/at a cleavage
and daydream. Now the average person
apparently checks their phone every six and a
half minutes. According to a study conducted
by Nokia (ah bless, remember them?), in the
16 hours most people are awake per day, they
check their phones 150 times. I’d say that was
a conservative estimate. These days, if I do
manage not to touch mine for more than a
few minutes, the damn attention-seeker will
trill or buzz with a passive-aggressive push
notification alerting me to Trump’s latest
dick move, a celebrity’s Tweet I “may have
missed” or a special offer from diapers.com.
It used to be that planes were one of the
few places where no one could reach you,
all electronic devices
were shut down or
switched to flight mode,
giving travellers a few
hours’ respite.
But now they’ve
introduced fly-fi. And the
main problem is, compared
to the high-speed 4G
we’re used to on terra
firma, up in the air it’s
a bit shit – about as secure
as a job in the White
House. This, despite the
fact that, depending what
airline you’re flying with, you may have been
charged an Uber-style surge price during
times of peak demand.
Stand-up comedian Louis CK used to
do an amusing bit on in-flight wi-fi called
‘Everything’s Amazing and Nobody’s
Happy’, about how we live in age of mind-
blowing technological advancement, yet all
we do is moan about it. But he first performed
that in 2008. Nine years on, I’m still waiting
for YouTube to load. The speed of technology
can never keep pace with human impatience.
First-world problems, you say? I could just
not turn it on and enjoy a few hours of digital
detox as before. But that’s like putting a box
of doughnuts in front of Homer Simpson and
saying he doesn’t have to try one. If it’s on
offer, I want it. I am a hard user. There is an
expectation to be available at all times. I feel
obligated to reply to every message. And six
hours without validation from strangers on
PHOTOGRAPHY: GIUSEPPE SANTAMARIA .
Instagram? Are you actually kidding me?
So for those of us who are addicted, some
internet is still just about better than no
internet. Which means despite the service
or lack thereof, we end up forking out for
sky-high wi-fi that just makes us swear
and tut: the equivalent of sucking at a tiny
kinked straw for hours when we are used
to gorging on broadband. And we can’t
complain to the provider because the
connection just dropped out again.
IN-STORE • ONLINE • SELECTED MYER STORES
 EXPOSURE

GQ x PERONI
PITTI UOMO
PARTY

C LOC K W I S E F R O M TO P
Ryan Ritchie; entrance to Il Salviatino; Jarrod Scott;
Sam Wines; Shaun Birley.

To celebrate European style during this
F R O M TO P
Kurt Ji and Jiawa Liu; Grant Pearce
and Jibran Saleem Sheikh;
Il Salviatino courtyard.
PHOTOGRAPHY: CARLY RAVENHALL.

year’s Pitti Uomo, GQ and Peroni hosted

an intimate gathering at Il Salviatino, a
15th-century villa in the hills of Florence.
In true Italian fashion, guests experienced
a culinary journey to the origins of Tuscan
cuisine and rediscovered old classics created
by the hotel’s renowned chef, Giuseppe
Imparato, all washed down by a few Peronis.
Guests included Jarrod Scott, Lee Oliveira,
Sam Wines and Grant Pearce.

82 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
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 ‘They’re pretty fucking cool’. And I played
’em to a few friends. They were going,
W O R D S N O E LLE FAU LKN E R
‘They’re fucking really good’. Then, I met

&A
this guy from Warner Bros and he said, ‘Let’s
have a listen’. So I played him these tunes
on the guitar and he was like, ‘Yeah, they’re
really good’ and goes, ‘Do you want a record
deal?’ And I said, ‘Well, yeah, go on then’.
GQ: Do a lot of the songs on the album
reveal more about you than what we’ve
heard before?
LG: Totally, man, without a doubt. But I’m
not gonna do too much of that, I’ve given
enough away. And you gotta keep a little bit
back for yourself. But there are bits in there
about Noel. There are bits in there about my
mum. There’s bits in there about my kid...
my girlfriend... my other brother... They’re
all personal, but, you know, I haven’t sat

LIAM GALLAGHER
down to write a song about ‘this’, or ‘that’,
or ‘that person’ or ‘this person’. Everything
just comes in, in a song. And suddenly, it goes
back out, subconsciously.
GQ: It’s nice to have you back.
I T’ S B E E N A TO U G H F E W Y E A R S FO R T H E OAS I S LG: It’s nice to be back – it’s nice to wake up
S I N G E R – B AT T L I N G T H E B R E A K– U P O F H I S in the morning and have something to do.
M A R R I AG E A N D FO R M E R B A N D, W I T H A N U N E X P E C T E D ’Cause boredom will kill anyone and I’ve
LOV E C H I L D T H R O W N I N FO R G O O D M E AS U R E . been bored out of my mind the past four
T H E  M A N C U N I A N W H O CA M E TO D E F I N E ‘ 9 0 s S WAG G E R
years, and it’s been dreadful. And it’s not like
A N D I S, H I S W O R D S, ‘ T H E G R E AT E S T F R O N TM A N
O F  O U R  T I M E ’, TA L KS A B O U T H O W I T’ S A L L L E D I’m curing cancer, this is just a fucking good
H E R E   – TO A D E B U T S O LO A L B U M A N D C O N T I N U E D rock ‘n’ roll record – and there’s nothing else
D E S I R E TO  W I N D U P B R OT H E R N O E L . about like this at the moment.
GQ: Do you think a lot of rock ‘n’ roll
frontmen have gone a bit soft?
LG: Oh, yeah, without a doubt. But I don’t
GQ: It must feel good to be talking about to his fathering of a love child with journalist think rock ’n’ roll has. It’s always there if you
music and being creative, instead of the Liza Ghorbani] – it was just dealing with want it. It’s just people are choosing not to
shit that’s been swirling the past few years. lawyers on a daily basis until I fucking went do it because apparently, it’s not trendy at
Liam Gallagher: Oh, yeah, without a doubt. to sleep at night. I was thinking, ‘Fuck this the moment... There’s a lot of these rock ’n’
I mean, they’re always gonna talk about shit’ and I planned to get out of England roll bands, or so-called rock ’n’ roll bands
the shit, because the shit sells – so there’s for a bit. So I went to Majorca for a holiday, – they’ve got guitars and that but they’re
always gonna be a bit of that. And I don’t had a really nice time and thought, ‘I could wearing ’em like pieces of jewellery. Plug
actually mind that, either, you know what fucking live here’. But I didn’t. I came back, the fucking thing in and turn it up. The
I mean? ’Cause it can’t all be music, music, shook my head a bit, and I thought, ‘It’s time sounds are meant to be loud, and concerts
music – some fuckin’ muso, going, ‘Oh, to make some tunes’. are gonna be loud, you know what I mean?
yeah, man, the album is great’, you know, GQ: We’re glad – as we can’t imagine And some rock ’n’ roll bands are making
being a fucking dork and doing interviews you wandering about in thongs and shorts dance records – they’re sitting on the fence
like Sting, talking about how ‘This fucking full-time. with a foot in the dance world... It’s like,
song’s saved my life’. It’s like, ‘Fuck off, mate’. LG: Me neither, I suppose. I mean, I could do ‘Make your fucking mind up, man’.
GQ: Yeah, ‘get back to your tantric it, but I gotta put lunch on that fork. But what GQ: Since you’re considered one of the
meditation’ and all that. made me want to get away from England was greatest frontmen of our time…
LG: Exactly. So, yeah, I don’t mind a bit of just the fucking constant bullshit all the time. LG: Yeah. Without a doubt. Without a doubt!
the drama. Because it’s real life, you know Which I made for myself, I guess. It was my GQ: …well, what makes a good frontman –
what I mean? But I’m definitely glad to have own doing. But still, I thought, ‘You know what are these frauds lacking?
PHOTOGRAPHY: NEALE HAYNES.

the music alongside of it.
GQ: Well, you’re back where you belong,
behind the mic. Tell us about the past three
years and where you’ve been – because we
heard something about moving to Majorca?
LG: After we knocked it on the head with
Beady Eye, I was going through a divorce
and all the other stuff [court cases relating
what? I need a bit of sunshine, healthy food,
get fit and fucking make a plan.’
GQ: So it was simply arriving at a point where
you needed to create again – to go solo.
LG: I just started out with a guitar, doing it in
me room and that. And then I wrote a song
called ‘Bold’. And then I wrote another
one called ‘What I Need’. And I thought,
LG: Life, man. Life experiences. No one
seems to be getting in any trouble or getting
... I mean, I guess, it’s getting in trouble
and getting out of it. They just seem to be
doing a gig and going home. And that ain’t
happening for me. Obviously, I’ve calmed
down a lot from when I was 20 and 30 and
that... Just these young bands today, man,

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 89
it’s like, they do the gig, they get it on and
then they go fucking home. Everyone just
seems to be very cautious of having a good
time. It’s like, I don’t know, it’s just all a bit
shit. English rock ’n’ roll at the moment is really
fucking beige. And I’m here to shake IT UP.
GQ: A lot of people would say the same
about what’s being produced in Australia.
LG: I don’t know much about Australian
music – I know there’s that band DMAs,
I went to see them a couple of weeks ago,
and I like what I see. Man, they got some
good tunes in there. But I think everyone
seems to be goin’ to bed after the gig, you
know what I mean? No one’s going out,
fucking getting in shit. Maybe it’s to do
with the drugs. Maybe the drugs are shit?
And the beer’s watered down, and all... And
it’s not just about the music for me – it’s
about the look as well. People need to look
cool, you know what I mean? Everyone just
looks like fucking tramps these days. Or,
they look like they’re off a fucking a kid’s TV
program. No one looks fucking cool anymore.
Don’t get me started. It’s far too early!
GQ: Good thing your fashion label, Pretty
Green is still around then. So what would
you realistically be doing if you hadn’t
found rock ‘n’ roll?
LG: Well, I’d either be in prison, or I’d be
dead. I’d be fucking off my tits on spice,
this new drug that’s killing everyone
in Manchester, this mad zombie weed.
I certainly wouldn’t be working in fucking
accounts or McDonald’s. So God knows.
So that’s why I treat rock ’n’ roll with the
utmost respect. It’s like, if you look after
rock ’n’ roll, rock ’n’ roll will look after you.
So I do believe there’s rock ’n’ roll angels
up there, and they’re looking down on me,
as stupid as it sounds, I do believe that.
GQ: You consider yourself spiritual?
LG: Without a doubt. I don’t pray at Buddha,
and I don’t fucking pray at the Lord and all
that. But I definitely just stand there. And
I sort of take it all in. And I just fucking put
it back out again. I believe in me, man, and
I believe in me family, and I believe in me
friends, and me missus, and I believe in real
people. You know what I mean? I don’t have
wind chimes on me fucking house and stuff.
And I don’t have a yoga mat.
GQ: A divorce, alimony, a band break–up –
this is tough for anyone let alone someone
in the public eye. How did you get through
it. No doubt you’re sick of lawyers?
LG: Oh, I’m fucking sick of them, mate.
That was just every day. It was morning,
noon and night. But you’ve just gotta fucking
stay strong and stay focused. I came into this
without money, I’ve come out of it without
money. I don’t do it for money, you know
90 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
what I mean? I’ve got a great life, I’ve got
more than enough, more than what I need.
So you’ve just gotta stay focused, and just
go, ‘Listen, you ain’t gonna take what is not
up for fucking grabs, and that is my spirit.
Listen, it’ll pass. Don’t go jumping off the
bridge, don’t go taking a bottle of pills, and
don’t fucking start to put a fucking rope
round your neck. It’ll pass. It’s just a little
part of your life that you fucking got yourself
in, and you’ve gotta navigate your way out of
it.’ There was no doubt that I would go back
to music. I knew, once I got my head straight,
and all that, I’d definitely go and try and
make some music.
GQ: Is it hard being a dad, when so much of
your life – all the beefs and crazed times –
is on public record?
LG: I guess, but I don’t really think about it.
The people in the press don’t really know
me. They’ve invented who they think they’ve
invented. And the stuff that they write
about me is, like, fucking ridiculous. I just
go, ‘You’re way off the mark’. And my kids
know me – they’re with me fucking, three,
four times a day. Or four times a week. They
know where I’m at. They know I’m still
connected, I’m not some fucking fruitcake.
I’ve still got my feet on the ground, you know
what I mean? It don’t matter what them dicks
write in the press, it’s not in my head.
GQ: So no concerns about your own mental
health, given all you’ve consumed?
LG: No, no, no, no. I was mad before I joined
the band. It’s just the fucking thing – you’ll
never get me in fucking rehab. I had my
drugs when I was 14. Chewing my face off
in Manchester, on magic mushrooms and
all that. It’s a piece of piss. People think that
you join a band, and you go, ‘Right, I’m in
a band. Let’s take drugs and drink alcohol.’
I was doing that when I was fucking 14. So
my mind is very definitely psychedelic. It all
comes to whatever’s going down. But I can
definitely toe the line. And I can do normal.
I get up and go for a run every day. I go and
do me own groceries, and then I come back
here and I sit and watch a bit of TV. But when
nine o’clock comes, and there’s a microphone,
it’s time to kick out the jams, as we say.
GQ: Are recreational drugs and booze still
part of your life?
LG: I booze it – don’t really do much of the
other stuff, no goodies anymore, not proper
stuff... I certainly can’t drink before I go
on stage or a night before. The voice don’t
handle that anymore. I’m 44 now, so it’s like,
get a good night’s kip, get out for a run in the
morning. Get to the gig. Do the gig. Give
the people what they want. And then, it’s my
time. I’ll never be fucking sober. Well, I’ll be
sober – I’ve been sober for six months once
there before, and it’s fucked. Being sober
drove me to drink.
GQ: This is what made you want to skip out
on England – sobriety?
LG: Exactly, yeah. I’d been six months sober,
I was going, ‘Fuck this shit. This is boring.
Gimme a drink!’
GQ: How much do you enjoy winding up
your brother Noel – it feels like you have
some fun with it.
LG: Oh, it’s my favourite thing to do. But
there are some serious issues in there as
well. I think he stitched me up with Oasis.
We got to a point where he was like,
‘Look, we might not be selling as much as
what we were, I could do with going solo’.
A lot of people were pissing in his ear. And
he basically fucking set up a couple of booby
traps and I walked straight into ’em. Then he
went off and did his solo career. And I was
left with the fucking mess of ‘You split Oasis
up’ – one of the nation’s favourite bands.
I’m pissed off about that, and I always will
be. We didn’t just split up over a fucking
argument. There was some fucking dark
activity at play there... That shit still hurts
me. But he’s had four years of running amok.
And now I’m back. I wanna shine a light on
how fake he is. But all the fucking winding
up and stuff, is pure fucking... yeah, I love it.
GQ: Because you know the public get off on
it too, right?
LG: Yeah, I get off on it! And so be it, man. I
don’t wish him any fucking harm, I just wanna
let people know that he’s a fake and I’m not.
GQ: It appears that age has mellowed you
a bit – all said and done.
LG: Definitely, man. But not to the point
where fucking people pull the wool over me
eyes. I still got me eye on people, you know
what I mean? I’m watching what’s going
down. I’ve definitely chilled out, though.
Yeah, I have, but not too much.
GQ: It’s been a few years since you were
in Australia. How do you look back on the
times that you’ve been here?
LG: I like it, man. My mate lives out there.
He lives in a place called Wagga Wagga or
something like that?
GQ: Yeah, Wagga Wagga – so good they
named it twice.
LG: It’s like the New York of Australia
[laughs]. Every time I’ve been out there, it’s
been cool. And we’re coming out there, doing
the Falls Festival. So, we’re gonna be there
for New Year’s Eve. So I can’t wait, man –
I love it. It’s beautiful. I’m bringing me two
boys out as well, they’re at the age now where
they can come and travel. They’re mad for
this stoner cartoon, The Big Lez Show. It’s like
a fucking Australian Cheech and Chong. They
love a bit of that Australian vibe.
 &A
“it’s just all
a bit shit... And
I’m here to
shake IT UP.”
GQ: What’s your take on the current influx
of bands who are cashing in on this so–
called ‘90s revival’?
LG: I don’t mind it. I’m all for a bit of
nostalgia... Bring it on, you know what
I mean? I don’t sit there and go, ‘Oh, they’re
a bunch of cunts for getting back together’.
If it’s gonna pay their bills, so be it, man.
GQ: Well, you know what we’re going to ask
next, right?
LG: Yes, ma’am.
GQ: What would it take to get Oasis back
together?
LG: We’ve been offered lots of money. But it’s
not about the money – I don’t need it. And
I’m sure Noel don’t need it, ’cause he keeps
telling everyone how rich he is and that...
To get Oasis back, it needs me and our kid
to have a real sit-down and become friends
again. And brothers, you know what I mean?
And so, it’s not about how many notes we
keep putting on. It’s irrelevant. Oasis was not
about the money – it was about spirit and the
honesty. And I mean, not fucking falling into
them bullshit traps, and becoming a fucking
U2, or whatever. Not becoming a part of the
fucking system...
GQ: … so some brotherly love is needed?
LG: Once we do that, if we ever get to do
that, then it’s on, but at the moment, it’s so
not. If that happens, we start talking, start
hanging out, and then, I think, it’d really be
a natural thing. It’d be like, ‘Look, should we
fucking have another crack at it? Should we it just got, super fucking not real. GQ: Looking back, any regrets?
fire up the chariots?’ Until that day happens, GQ: How do you feel about the music LG: I’ve got a few. But not too many.
there’d be no point in me going onstage if now? Do you get a twitch when you hear Obviously, I’ve fucked a few things up and
I still hate Noel, and Noel still hates me, ‘Wonderwall’? that, personally, but everything happens for
because people will see right through it. LG: I like all the songs. We did it the other a reason. So, only personal ones. Musically,
Listen, we get offered lots of things when night for the first time in ages, and people no regrets. Fashion sense, no regrets. It is
we were Oasis, to do things for money. I got fucking loved it. So I’m not one of them what it is. I might have fucked a few things
offered some fucking Calvin Klein adverts people that are like, ‘I’m not gonna do it’ up on the way. But it’s all been dealt with, and
when I was 23. I turned it down. We got because I’ve had the hump with it. People pay it’s all been picked up, and apologised for.
offered fucking Coca–Cola adverts. We were their hard–earned cash to go to a gig... give GQ: With all the noise and bullshit aside,
like, ‘No, that’s not what we’re about, you them what they want. Send them home happy. how would you like to be remembered?
know what I mean?’ ’Cause the minute you People don’t play their hits anymore, because LG: As a great rock ’n’ roll singer who did
go into that zone, it’s very hard to get out of they’ve got an album out, and this is where not give a fuck – who did exactly what it
it. And that’s why I think people still have they’re at in life. Fuck off, mate. Get over said on the tin.
a real soft spot, because it was fucking real. your fucking self. Play the fucking hits, and Liam Gallagher’s debut solo album, As You
It was super, super real. And towards the end, some of your new stuff as well. Were, is out October 6.

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 91
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Otis Dining Hall, in the lakeside suburb of a heavy European edge,
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WORDS: ANTHONY HUCKSTEP; RICHARD CLUNE. PHOTOGRAPHY: MARTIN OLMAN; TIM BEAN.
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Housed in a former Belgian beer cafe, they’ve opened up a pumpkin, sage and burnt
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the new Pot Food and Wine
classics as much as reviving them with a breath of fresh air. has brought in 2016 Chef
Classic potted chicken liver pâté hides beneath a thin layer of fat. of the Year, Emma
From top:
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Beef tartare with offers whole baked
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without letting go of the building blocks of the past. TO GQ .COM.AU
29 Jardine St, Kingston; thisisotis.com.au

96 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
 TASTE+TRAVEL

THE FESTIVAL

south
BACCO OSTERIA E ASH ST. CELLAR west’s
best
ESPRESSO Just across the
Another six over the way from Felix is this
back fence for chef and tapas temptress
restaurateur Andrew and wicked wine
Cibej. Here it’s a fuss- cellar. If a casual Get on the gas with
free, Italian-inspired feast of shared any number of known
all day eatery and dishes such as duck Australian chefs and
wine bar that delivers liver parfait or they’ll eventually come
big on flavour. Fluffy, truffled gruyère and to highlight Margaret River
caramelised gnocchi jamon toasties are Gourmet Escape as
are served with your thing, then pull a favourite festival. It’s why this year will again see
pistachio, butter and up a seat and dig internationals such as Rick Stein, Thomas Keller and Andre
as a lasting memory deep. You’ll be Chiang, alongside locals Dan Hong (pictured) and Clayton

EAT
AT
T
– go for the almond heavily rewarded. Wells, among others.
and quince tart. 2–12/1 1 Ash St; merivale. Presented by Audi, this year’s festival sees over 50 events
Angel Pl; bacco.com.au com.au/ashstcellar take over the south west corner of the country (with various
A N G E L P L AC E A N D A S H S T R E E T, SY D N E Y

events also in Perth) November 16-19.

It’s about food as much as it’s about fun - and if ever there’s
ANGEL PLACE AND ASH STREET IS SYDNEY CBD’S a reason to do as the Pet Shop Boys once implored, go west,
FOODIE T-JUNCTION – A SOMEWHAT HIDDEN, it’s this. gourmetescape.com.au; audi.com.au

R
STREET
MELBOURNE-LIKE POCKET OF GOODNESS
OFFERING SOME OF THE CITY’S BEST DINING.

THE BOOK

You are what you eat. It’s

a simple philosophy and one
CHINA LANE LONG CHIM that’s framed the career of
The sibling David Thompson’s acclaimed Sydney chef Mike
restaurant of acclaimed homage McEnearney (No. 1 Bent Street
Woolloomooloo’s to Bangkok street by Mike, Kitchen By Mike). It’s
China Doll, this food. His Chiang an approach he further serves
modern Asian Mai larp of chicken up in this impressive second
eatery plays to its is hotter than book that should become a solid
laneway surrounds a habanero in weekly reference for those
with a cracking hotpants, the oven- wanting delicious food that also
cocktail list and baked silver perch does you good. Divided across
FELIX BISTRO the four seasons – highlighting
dark, salubrious shows a delicate Merivale’s popular
vibes. Start with side while the and utlising the best of what’s
Parisian brasserie available at any given time – this is about wholefood eating that’s
steamed dumplings mashed prawn and serves one of the best
(pork and prawn coconut curry is accessible and flavoursome. And we can’t get enough of the
French feasts in town, Malaysian spiced pumpkin and coconut soup.
sui mai), duck spectacular. Strap and you won’t be
pancakes and follow yourself in for the Real Food By Mike, available now, $45; hardiegrant.com
disappointed by the
up with the soy wildest tuk tuk ride Bloody Mary’s either.
braised crispy outside of Thailand. Grab a pre-dinner
pork belly. Pitt St & Angel Pl; cocktail in the bar
2 Angel Pl; longchimsydney. then hit a banquette
chinalane.com.au com for classic steak frites.
2 Ash St; merivale. MERCADO THE GEAR
com.au/felix Nathan Sasi made
his name at Nomad,
but with Mercado
he’s stamped Leading Australian
his authority as designer, David Caon,
a master of the has continued his work
Mediterranean. with our favourite airline,
Quaff a vino at the Qantas, in creating an
bar, then sit in front impressive new line of
of the open kitchen tableware that melds
and enjoy the feast functionality to style.
cooked, largely, in As part of Caon’s overall
a wood-fired oven. . work on the interiors of the new 787 Dreamliner – due to take
4 Ash St; mercado flight this December – the new range will be available to
restaurant.com.au international first, business and premium economy
passengers, as well as those flying domestic business.
Bon appetit. qantas.com.au

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 97
 TASTE+TRAVEL

What’s all
WINE

the fuss
about?
AS T H E O B S E S S I O N W I T H
‘ N AT U R A L’ W I N E G R O W S, W E

W
AS K W H E T H E R T H E N AT U R A L
WAY I S T H E B E S T WAY.

hen it comes to the

most common wine
question I’ve been
asked in the past year,
‘What’s the story
with ‘natural’ wine?’
is beaten only by ‘Don’t you think you’ve had
enough?’ for the frequency of its asking.
Of the two it’s certainly the one I find
easier to answer.
‘Natural’ wine – those wines where the

Try
winemaker recedes into the background and a ‘sommelier’ just because they think it
lets nature take its course rather than guide, will get them laid.

these
cajole and shape what the vineyard has given Without the skills to objectively assess
them – has been the biggest trend in the quality through tasting, many are clutching
world of wine over the past decade. at ideology as the justification for why they
Natural wines from here and abroad have recommend a wine.
Good Intentions Wine
established a strong beachhead on the local Sometimes that will deliver utter pleasure, Company ‘Gris Diddly
wine scene. other times you’ll end up with tepid piss. Dee’ 2016, $26
They’re not just some passing fad. They’re I weep at the story of one winemaker – Bronzy pink, tautly
textured, wafts of apple
here to stay. a producer of meticulously farmed, sensitively skin and quince. A slight
So it’s probably time to acknowledge made wines that sing sweetly of the place from aldehyde edge and deftly
a journey through the world of natural wine which they come – who walked out of a sales handled phenolic grip.
Curious but delicious.
can deliver some utterly sublime experiences call with a Melbourne restaurant with bottles
but can just as easily veer of the rails and unopened because the establishment flat out Gentle Folk ‘Forest
end up in a putrid stream full of dead refused to buy wines that exceeded their Range’ Pinot Noir
dogs and shit. self-imposed, and unrealistic, threshold of 2016, $45
Gareth Belton is among
I’ve had natural wines that have thrilled me sulfur additions above 30 parts per million. the best of the marauding
utterly and I’ve had natural wines that have So rather than offer their customers some band of beardies making
wine in South Australia’s
made me wonder if I should rip my tongue of the finest wines made in this country, Basket Range. Tiny
from my mouth and wipe my arse with it they choose to serve only what adheres to production pinot noir,
rather than subject it to another drop. That’s their misguided ideas about the natural with the fragrant

WORDS: NICK RYAN; PHOTOGRAPHY: GETTY IMAGES.

complexity of whole-
part of the pleasure, and part of the problem. preservative that has been used in wine bunch fermentation and
There is a political statement inherent in making since the days of the Roman empire. the ethereal grace that
the whole ‘natural’ wine movement that I’ll accept a more open-minded attitude to is Belton’s signature.
Hard to  find but well
makes me a little uncomfortable, an unfair wine-making faults is required to enjoy a lot worth seeking out.
juxtaposition that banishes all other wines of these wines and I’m cool with that.
that don’t fit the criteria into a bin implied But there is beauty in the flawed as well Good Intentions Wine
Company ‘Noir dee
to be ‘unnatural’. as the perfect. doot dee dah’ 2016,
The rise of natural wine has coincided A natural wine isn’t good just because it’s $26
with the widespread misuse of the term been made in line with the philosophies and Smells like summer
berries grown in straw
‘sommelier’. Perhaps not coincidentally. methods that define the movement. A natural and the odd whiff of
While there are a number of dedicated wine is good, just as any wine is, when it’s wood nymph farts. Juicy,
wine service professionals with the training delicious and you want to put in your mouth. crunchy and slippery in
the mouth. A lively, supple
and experience to warrant the title, there’s Make your own decisions about ‘natural’ and slinky expression
just as many out there calling themselves wine. Don’t just drink the Kool-Aid. of pinot noir.

98 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
 CITY GUIDE

LISBON –
EUROPE’S
COOLEST
CAPITAL
JUST OVER A DECADE SINCE THE GFC CRIPPLED
THE PORTUGUESE CITY, IT’S RIGHTED ITSELF WITH
THE BEST AREAS
A BANG – A BEAUTIFUL, COLOURFUL AND HEADY Lisbon is a city of Bairro Alto

T
clearly defined Sprawled across
CENTRE FOR DESIGN, ART, FOOD AND MUCH FUN. neighbourhoods, a hilltop near the
where just a short stroll city centre, Bairro
can take you from the Alto is the heart of
here’s an encouraging sight on winding alleyways of Lisbon’s nightlife,
the Lisbon skyline these days ancient Alfama to the a neighbourhood whose
– cranes. Everywhere you look wide boulevards of cobbled streets are
modern Chiado; from charming by day, and
these metallic dinosaurs roam the raucous heights teeming with revellers
the horizon. They loom high of party-town Bairro at night. Drinking on the
above, lifting, shifting, adding Alto to the sketchy street is legal in Lisbon
layer upon layer to the city’s relief. portside bars of – the footpaths here
Alcantara. Despite as busy as the pubs. tiled apartment blocks. a neighbourhood that
Lisbon, you see, is booming. There its steep hills, this is Grandmothers call still has plenty of bars,
were some rough times not so long ago – a compact city easily Alfama out to each other from cafes, restaurants and
a financial crisis that brought Portugal to its navigated on foot Those craving historical windows; kids kick ginjinherias – shops
– though if walking charm need look no soccer balls in the selling traditional sour
knees – but those days appear to be over. doesn’t appeal, trams further than Alfama, street. This is also the cherry liqueur – but
New buildings are going up. Older apartment still run through many one of Lisbon’s oldest best place to see fado, they’re of the more

WORDS: BEN GROUNDWATER. PHOTOGRAPHY: GETTY IMAGES.

blocks are being renovated. Investors are of the popular areas, neighbourhoods – Portuguese folk music, laidback, local variety.
plus there’s a metro a place of narrow alleys played live in a local bar. Principe Real is also
falling over themselves to get a piece. There’s and steep staircases, home to some of
rail system, and taxis
a real buzz of optimism, a feeling that and Uber are more of small squares Belem Lisbon’s best art and
everything is going to be just fine. than affordable. surrounded by brightly Elegant, picturesque design stores.
For visitors, that feeling manifests itself Belem has long been
popular with travellers Baixa
in much more than buildings. It’s in the thanks to its water Downtown Lisbon is
spate of modern restaurants that are taking frontage, historic a perfect grid of narrow
Portugal’s traditional cuisine and turning buildings and museums, streets and pedestrian
and a little place called malls that lead to the
it into something new and alluring. It’s Pasteis de Belem – waterfront. This is where
in the burgeoning arts and design culture the pastry shop that you’ll find most of the
that’s bringing the old aesthetic into the new invented the Portuguese city’s hotels, as well as
century. It’s in the friendly people you meet, tart. There are always some large plazas in
long queues, but it’s which to sit with a beer
daily, who are visibly excited to have visitors worth the wait. and enjoy the scenery.
returning to their shores. Baixa has a notable
There’s something truly great happening Principe Real advantage, too:
Think of Principe Real it’s dead flat, which
in Lisbon right now, and you need get there as Bairro Alto’s slightly is unusual in this
to appreciate it. more mature sibling, undulating city.

1 0 0 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

NEW-SCHOOL
CUISINE
There’s always been great
food in Lisbon – though
the last few years have
seen a slew of young
and inventive chefs
updating Portugal’s old-
school offerings. From
contemporary takes on
petiscos (tapas bars),
to Michelin-starred fine
dining, there’s plenty
to be eaten.
Belcanto
The undisputed leader of
Lisbon’s new-wave cuisine
is chef José Avillez, who’s
amassing something of
a culinary empire in his
home city. Check out
Mini Bar for Lisbon’s
best canapés, Cantinho
do Avillez for affordable
modern cuisine, and
Belcanto for Michelin-
starred artistry.
By The Wine
One of several modern
restaurants in Lisbon with
slightly odd, punny English
names, By The Wine not
only has a huge list of
TASTE+TRAVEL
WHERE TO STAY MUST-DO
Olissippo Lapa Palace
This converted nineteenth-century palace oozes
Old World charm, with almost ridiculous baroque
flourishes. Set in ritzy Lapa, huge picture windows overlook
STORES
numerous mansions as well as a long stretch of the Tagus
Conserveira
River. Set among sub-tropical gardens, it’s an urban oasis
de Lisboa
For almost 100 years,
within the city, with most major attractions accessible
this little shop in Baixa
on foot, though given the alluring, sprawling pool and
has been selling one
luxe mediterranean restaurant, Lapa, it’s sometimes
of Portugal’s most
a struggle to leave. Rooms from $535 per night,
cherished products –
Rua do Pau de Bandeira 4; lapapalace.com
tinned seafood. Even
if you don’t fancy
a souvenir can of
smoked mackerel,
Conserveira de Lisboa
is worth a visit to
check out the product
artwork from the
’30s and ’40s.
LXFactory
This is your go-to for
the best in Lisbon art,
fashion and design
– a former industrial
area that’s now a
Portugal’s best drops, but cultural and creative
an excellent range of chef hub. Plenty of Lisbon-
José Maria da Fonseca’s based designers
nouveau cuisine, including have boutiques here,
the likes of partridge as do a few larger
escabeche (marinated fish) homewares brands,
and grilled pig’s ear. and there’s also fresh-
food markets and
Sea Me restaurants on site.
The city has long been
heaven for fans of fish
(check out the nightly
queues at traditional
seafood den Cervejaria
Ramiro), and Sea Me is
ushering the obsession
into the 21st century with
a fish market, shellfish
restaurant and a sushi bar
under the one roof.
Time Out
Market Lisboa
The 125-year-old Mercado
da Ribeira is home to one
of Lisbon’s most unlikely
culinary attractions: the
THE BEST
TIME OF
Time Out Market. With 35
kiosks run by the best of
Lisbon’s restaurateurs and
providores, this is a one-
YEAR
stop shop for some of the
Lisbon is a great year-
capital’s finest food.
round destination (it
never gets particularly
cold) though like many
European cities, it’s at
its best in the warmer
months, from May to
September, when the
evenings are long and
the festivals are frequent.
Though the peak also
means an influx of fanny-
packed types, so aim
either side. Emirates
flies daily from all major
Australian cities to Lisbon,
via Dubai. emirates.com
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 101
 TASTE+TRAVEL
F R O M TO P
Pool deck at sunset overlooking
the Willow Creek Vineyard;
Li enlisted the likes of Ebra
to provide one-off pieces
of furniture, like this gold
Leatherworks chair; the
Jackalope interior entrance,
dark and contemporary, sets the
tone for the hotel aesthetic.
1 02 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
A NIGHT AT...
W
JACKALOPE HOTEL
inery hotels.
Historically
they’re the
reserve
of frisky
new(ish)
couples or professional alcoholics.
Yet an hour (and a bit) south of
Melbourne, on the Mornington
Peninsula, sits a vineyard property
that’s quickly rewriting things.
The 46-room Jackalope Hotel
is on the grounds of Willow
Creek Vineyard, and while
it only opened its burnt-black
cedar doors in April, already it’s
become a place synonymous with architectural
beauty and luxurious weekends away.
Framed by plush countryside, the winding
driveway opens out to a circular courtyard
showcasing an impressive seven-metre-tall
sculpture, from Melbourne artist Emily Floyd,
of a jackalope – an antlered jackrabbit creature
plucked from North American mythology.
The brainchild of 28-year-old Louis Li, the
hotel’s vision combines personal passions for art
and food with design and folklore. The perfectly
manicured grounds appear more printed than
grown while the black 30-metre infinity pool
adds to the sheer class of the place.
It’s not simply the hotel’s looks, and damn does
she look fine, that marks this place as a must – the
menus add to the impressive levels of luxe. F R O M TO P
The flagship restaurant, Doot Doot Doot (really), helmed by chef Guy Emily Floyd’s impressive
Jackalope sculpture at the
Stanaway, offers a four-course à la carte menu or an eight-course dégustation entrance to the hotel; room
with a view of the vineyard;
sitting – all built on various seasonal offerings (think oysters, venison, beef striking furniture pieces,
cheeks and beyond). All this served under the most dramatic restaurant like this couch and side table
by Zuster, feature heavily
chandelier in Australia, which hovers across the ceiling and is made up throughout the hotel.
of 10,000 lamps.
Rare Hare, the cellar door adjacent to the main hotel, offers a more relaxed
foodie outing alongside a fantastic selection of Willow Creek wines.
It’s enough to prompt a lie-down – rooms spacious and sleek, with balconies,
impressive views and a further play on darkened woods and sharp shapes.
Li hasn’t let anything on display – or being eaten – pass his gaze. From
WORDS: JACK PHILLIPS.
the hand-crafted black and gold cutlery in the main restaurant to the
stone crockery and crystal glasses that look like they were hacked from the
surrounding hills – he’s across every element of Jackalope, a property deserving
of the numerous awards its already bagged.
So, if you want to impress your significant other, or fancy yourself a patron
of the Australian arts, Jackalope will see your belly, and brain, suitably sated.
F RO M AP PR OX . $5 9 0 PE R N I G HT; JAC K A LO PE H OTE LS .CO M
TRAVEL | MASTERED

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Christian Dior, Paris (fashion house) | Christian Dior (designer) Aventure ensemble, spring-summer 1948 haute couture collection
Photo © Patrick Demarchelier/Licensed by Art+Commerce | Model: Sasha Pivovarova, IMG Models
LO O K YO U R S H A R P E ST W I T H O U R E XC LU S I V E E D I T O F T H E B E ST I N M E N SW E A R A N D G R O O M I N G T R E N D S

STYLE
STY
YL E D I T E D BY
O LIVIA HAR DI NG &
LE I L A AM I R PARVI Z

SPRING/SUMMER ’18

TREND
REPORT
S T R A P YO U R S E L F I N
A N D G E T U P TO DAT E
W I T H  T H E L AT E S T
F R O M T H E R U N WAY.
 STYLE
SPORTS SUITS

Twin sets depart

the trackside as this
season decisively
brings street
normality to the
runway. Bally,
Off-White and
Berluti understand
the philosophy of
comfort dressing,
pairing harmonising
suits with apt

PALM ANGELS
technical footwear
(rubber sneakers,
BALENCIAGA

GOSHA RUBCHINSKIY
sandals and slides)
and are sure to
exercise opinion
on what was once
a style taboo.
TROPIC THUNDER
PAUL SMITH

The likes of Louis

Vuitton, AMI and
SSS World Corp
(the debut label from
GQ’s reigning Man of
Style, Justin O’Shea)
saw a line-up of
optimistic prints,
loose cuts and
a vibrant colour
palette. Not for the
faint-hearted, some
are better off
trading their palm
frond for a pina
colada and calling

BALENCIAGA
it a day. But for the
VALENTIN0

VERSACE
brave among us,
take a cue from
the sun-soaked
avenues of Paris
and display your
kitsch prints
proudly.
SLIDES
Step ahead of the
game and slide into
this season’s new
shoe. It’s all about
easing your walk
with an update on
a classic summer
staple – swap your
rubber plugs for
LOUIS VUITTON

a leather slide, or for

the cooler months
HERMÈS

FENDI

pair with socks if

you’re daring.

SHOW
LOCATIONS
FROM THE DIOR HOMME ERMENEGILDO PRADA
ZEGNA
LOUIS VUITTON

GRAND PALAIS, PARIS PRADA FOUNDATION, MILAN

W E I R D TO T H E Fresh-cut grass and sleek Comic-book inspired graphics
UNIVERSITY OF MILAN, MILAN
WONDERFUL. black pews beneath black
An orange neon tree and
filled the vaulted Via
hanging streamers. Fogazzaro space.
AMI

Japanese drummers.
 STYLE
SUAVE SUEDES
LONG LIVE
THE LOGO

Chalky shades
Branding is back and of buttery suede
bigger than ever, as reigned supreme
heavy hitting fashion across the runways
houses have revived as winter’s favourite
their status of the fabric finally
’90s. Emulated by translates to
Versace, Dior and a warmer climate.
Valentino, the Stick to pastel tones
unexpected came and pair with

BERLUTI
from Christopher tailored separates
Bailey, who has to wholly absorb
finally embraced the the trend. Else, keep
street association it really easy
with Burberry by and breezy
joining forces with with a sky-blue
normcore man of the monochromatic
moment, Gosha Tom Ford look,
GOSHA RUBCHINSKIY

Rubchinskiy, to asserting a carefree

present a signature approach to an

VALENTINO
plaid-heavy otherwise delicate
VERSACE

collection. textile.

ERMENEGILDO ZEGNA
TINTED SHADES
FO R G E T A L I G , R AO U L D U K E ’ S FAVO U R E D L E N S E S
W E R E   S E E N AT T H E L I K E S O F V E R SAC E , E M P O R I O
A R M A N I A N D D R I E S VA N N OT E N , AS H U E D L E N S E S
A R E   E M E R G I N G AS A N O P T I C -W E A R S TA P L E .

SENIOR SARTORIAL

It’s about easy

silhouettes, sensible
shoes and jumper
BERLUTI

vests as we see
a resurgence of
old-man style. With
Fendi and Hermès
at the forefront of
this particular form
of comfort dressing
– we’re talking
layered knitwear,
rubber soles and
high pants – it affirms
the revolutionary
concept that style
need not be
sacrificed for
comfort. So go
TOM FORD

practice what’s
HERMÈS
MARNI
PRADA

being preached.
FENDI

RICK OWENS KENZO JW ANDERSON PALM ANGELS VIVIENNE OFF-WHITE

PALAIS DE TOKYO, PARIS
An erected scaffold
LYCEE CAMILLE-SÉE
HIGH SCHOOL, PARIS
PITTI UOMO, FLORENCE
A pillow-seated runway
MILAN, ITALY
A huge construction tractor
WESTWOOD EMPTY SPACE GALLERY,
PARIS
runway with a view. Aerial dancers scaling walls à sat parallel to perfectly- SEYMOUR LEISURE
and pile of soil were A gallery re-see in Paris with
la seasoned window cleaners. trimmed hedgerows. CENTRE, LONDON
front and centre. original show in Pitti.
A local community centre.

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 09
 STYLE

ACCESSORIES PINK PARADISE

Take a page out of

the Pantone palette
(197 C to be exact)
and embrace
head-to-toe
chromatic colour.
This season it’s pink
as shown in the
collections of
Ermenegildo Zegna
and Prada (to name
two). If you’re not
ready to block out

SALVATORE FERRAGAMO
in a bold fuchsia, try
GOSHA RUBCHINSKIY

accents of an earthy
tone – be it a splash
LOUIS VUITTON

on a cap, socks or tie.

CROSS BODY WEB BELT KEY FOBS

Make like the men on
the runways and keep
your essentials close
to the chest with
a cross-body satchel.
Seen on the waists
of Canali and AMI, the
web belt is built to last,
whether cruising the
streets or the hills .
Belt loops have become
prime estate for the
street elite. Follow suit
and adorn your waist with
heavy-duty hardware.

PAUL SMITH
EMPORIO ARMANI

GIORGIO ARMANI
HERMÈS

PRADA

ALPINE 2.0

A new level of
athleticism is born
as the mountain
explorer prioritises
a hi-tech wardrobe
and indulges himself
on the trek to
fundamental style.
Practical pull ties,
sheltered hoods and
nylon windbreakers
featured heavily
among functional
SALVATORE FERRAGAMO

eyewear, weighty
ERMENEGILDO ZEGNA

boots and bulky

DIESEL BLACK GOLD

backpacks to elevate
a look past base
VALENTINO

camp and onto

PRADA

the streets.

11 0 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
 URBAN
ADVENTURER

Luxury runways
have never been
so urban as the
utilitarian jacket
walked for the likes
of Ermenegildo
Zegna and Paul
Smith. The daring
types need not
sacrifice style, with
the practicality
HERMÈS

of the piece
FENDI

contrasted in rich
ERMENEGILDO ZEGNA

GOSHA RUBCHINSKIY
fabrics and boxy

GIORGIO ARMANI
shapes with
TECH WARRIOR

PAUL SMITH
signature pockets
for your adventure
essentials, and more.
Establishing a
connection between
function, form and
style, the new S U N S H I N E STAT E
season integrates
technical textiles
with street-worthy
LOUIS VUTTON

separates. At Dolce Wear your waistline

& Gabbana, tight, your lapel wide
Balenciaga and and keep a funky
Lanvin it was disposition while you
artificial, weather- get down to business
proof outerwear, in the new summer
while Hermès, suit. Louis Vuitton
Off-White and Palm paired wide cuts with
Angels showcased bold prints, Fendi
airy puffed pieces in and Lanvin used an
metallic sheer earthy tonal palette,
shades set to rival and Salvatore
the guise of NASA’s Ferragamo kept it
SALVATORE FERRAGAMO

space voyager. classic with crisp

Perfect if you’re whites and sharp
planning a trip to collars fit to rival
GIORGIO ARMANI

other galaxies. Travolta’s Saturday

BALENCIAGA

Night get up.

LANVIN

STREET STYLE
WHITE OUT STRIKE LANE SIN CITY LOGOMANIA
An elementary Strike out with If the shirt A trend direct
breeze was the resurgence of is somewhat from the runway,
blowing on the the bowling shirt, offensive, you’re local Parisians
streets of London fit for so much on the right track aren’t shy to wear
as the civil men more than just as the city of their heart on
of fashion week the lanes. Wear lights shone their sleeves -
PHOTOGRAPHY: INDIA HARTFORD DAVIS.

kept it simple buttoned with brightly on the literally. Be it

and protested the chinos and a Parisian man’s monogram
rainbow. Subtle fresh pair of kicks love for a sinful shirting, or bold
separates flew to take you from print. Pair with slogans, the
under the radar desk to dinner, or a heavy-duty luxury houses
but standout go loose and belt, grow out can turn you
accessories and layered over your that moustache into a talking
sleek eyewear favourite tee and and hot tail it advert. Creative
kept these men jeans combo for straight to or simply genius
noteworthy. weekend ease. sin city. marketing? You
be the judge.

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 STYLE
ALEXANDRE
MATTIUSSI:
THE FRENCH
CONNECTION
L
et’s be honest for
a moment – the fashion
world can take itself
incredibly seriously at
times, disgorging a level
of obscure, self-congratulatory
speak about what’s ultimately being delivered.
Sure, it is an artful medium of talent
and aspiration – but, then again, read a press
blurb attached to the walk of a new collection
or sit with a luxury designer for more than
five minutes. You’ll likely end up down
a wordy rabbit hole that could well involve
Alice and spiral into an obtuse dissection
of the influence, and alleged importance,
of the Mughal Empire as it relates to the
straight-edge DC punk scene of the late
’80s – all part and parcel to the fashion
realm’s magnificent appeal.
But enter Alexandre Mattiussi – the man
behind the engaging, simple lines of AMI.
11 2 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
INTERVIEW
Infectiously positive and genuinely
friendly, the 36-year-old’s approach is one
built on a simple block – honesty.
After working across various roles at Dior,
Givenchy and Marc Jacobs, the Frenchman
found himself increasingly detached from the
end product, so he decided to launch a label
and create a line that’s about a wardrobe of
clothes he’d wear daily.
“I wanted to step back – to be connected
to myself as a designer and to be someone
who would wear the clothes myself,” he tells
GQ over a coffee and a few cigarettes at
a favourite Marias cafe close to his Parisian
design office. “I used to design beautiful
things at a very expensive price with the
beautiful fabrics and everything, but then,
at the end, I couldn’t afford it myself – it
was frustrating and it left me disconnected.”
AMI – his signature based on initials,
which also translates to ‘friend’ in French –
launched out of the blocks six years ago.
International buyers were quick to engage
and Mr Porter signed an exclusive deal –
the honesty, accessibility and quality of
Mattiussi’s designs an immediate hit.
“AMI is connected to the life I live –
I don’t put fashion in my top priorities
and what I mean by that is that I have fun
with friends, I go on vacation, I have dinner
parties, I buy a nice lamp for my apartment,
and then, if I have some money at the end of
the month, I buy a jumper or a jacket. But
I’m not organising my life around a jacket
or a pair of shoes.”
An attainable price point has also played
a key part in the surging success – so too
a desire to maintain simplicity in favour of
so-called trends.
“Being cool is great, but I want to be the
brand that lasts to the future – this is my life,
I want this, I’m not going to do this for five
years and then go and be the creative director
at Vuitton – non, that’s not my plan, it’s to
build this business and have fun.”
Such fun is now draped across 70
employees and, beyond some strong
concessions (Printemps) and being stocked
by the likes of Barneys, Saks and Opening
Ceremony, runs to six standalone retail stores
– three in Paris with further outposts in
Tokyo, Hong Kong and London.
“I want to keep the growth organic – we
have people pushing us to grow though as
I say, I want things to last and do things
gradually. It’s because, as a designer, I want
to grow a little – to keep what we’ve done,
but to  play a little more.”
His incentive to further emote was most
recently unveiled against a thick Parisian heat
in June – AMI’s SS18 collection stomping
across pink sand by models sporting more
colour, namely tri-colour tones, than what’s
gone before.
“The collection is complete and still
I try to dress a guy who’s 17, to my father
who’s nearly 80 years old. And I don’t find
inspiration anywhere else but from observing
people and how they’re dressing themselves.
The worst thing when you are a creative, is
to become a bourgeois – and in this business
it’s easy to do that, people get more money
and big contracts with the big houses,
have a big apartment and have a driver and
WORDS: RICHARD CLUNE.
go on vacation in the Caribbean and blah
blah blah blah. They disconnect from who
they are. In my house – there is no bullshit
and I’m very lucky.”
As are we.
AMI IS STOCKED LOCALLY BY INCU, SNEAKERBOY AND
STANDARD STORE, AMONG OTHERS; AMIPARIS.COM
@CALIBREAUSTRALIA CALIBRE.COM. AU
 STYLE
INTERVIEW

Five minutes with…

Jordan Barrett
During the madness that was Paris Fashion week,
we caught up with model of the moment and GQ
Man of Style alumni, Jordan Barrett, to establish
where he stands on blondes v brunettes, among
other things.
NEW YORK OR PARIS? FAST OR SLOW?
Always Paris Fast
CITY OR BEACH? BLONDE OR
Beach BRUNETTE?

JW ANDERSON
T-SHIRT OR TUX? Blonde
T-shirt BEST PHOTOGRAPHER?
BOATS OR PLANES? So many great ones
Boats MY BUSINESS IS…

AND UNIQLO
SHOWER OR BATH? A gift
Shower I’D DROP AND RUN
BEST TRAVEL FOR…
COMPANION? Any adrenaline-
My friends producing activity

ARE HAVING
LYING OR STANDING?
Standing
FAVOURITE FILM? BELOW
Candy Aussie models, Jordan

A MOMENT
FAVOURITE SONGS? Barrett and Cheyenne
I have an iTunes playlist Tozzi, behind the
on M2M – check it out scenes for Calibre’s
KITCHEN SPECIALITY? Spring campaign;
Ummmm calibre.com.au

O
A N D G Q WAS I N LO N D O N
TO W I T N E S S I T.
n a surprisingly sunny
morning in Tate
Modern’s Blavatnik
Building, Jonathan
Anderson shyly awaits
his introduction in the
corner of the presentation space.
It’s a day he’s been awaiting for a long
time – the preview launch day of his
highly-anticipated collaboration with PIECES FROM
THE LIFEWEAR
Japanese high-street giant Uniqlo. COLLECTION;
JONATHAN
“I’m happy because I’ve been shopping ANDERSON.
at Uniqlo for many years. It’s something
I wear on a daily basis and I have a lot a jeans and T-shirt combo are refreshed,
of respect for what they have built and it the classic staples using Uniqlo’s advanced
was kind of an honour. It makes perfect technology and affinity for quality fabrics
sense to me.’’ to create a new kind of basic, which
Indeed, it does make sense. The makes up the core of JW’s everyday
33-piece collection is all about wardrobe. “Every morning I wake up
functionality, form and thoughtfulness – and I don’t have to think about what
each item carefully curated and created I’m wearing, someone has done the
by the man himself (JW as he’s thinking for me.”
commonly known) with the wearer in Among juggling 12 collections a year
mind. He speaks of the collaboration’s across two labels (his namesake label,
ability to transcend season, time and JW Anderson, and Spanish heritage brand
WORDS: LEILA AMIRPARVIZ.

gender, reaffirming that ‘Uniqlo is for Loewe), curating exhibitions, judging

everyone’. The tartan-lined trench coat
can be worn in reverse – pending mood
or occasion – and the quilted puffer can
be layered over the Fair Isle jumpers with
the striped scarf looped tightly. For the
warmer months, his simple approach to
the Loewe craft prize, collaborating
with the likes of Converse and Uniqlo, it’s
no wonder he doesn’t have time to think.
Mark your calendar. Get a dose of carefully
curated LifeWear when the collection drops in
Australia, September 22.

11 4 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
@CALIBREAUSTRALIA CALIBRE.COM. AU
 STYLE

GQ PICKS

CHOOSE
1

WISELY T H E D E V I L I S I N T H E D E TA I L - T H E S E B E LT S,
B AG S A N D S H O E S W I L L H E L P E L E VAT E
YO U R AC C E S S O R I E S G A M E .

2
P H OTO G R A P H Y E DWAR D U R RUTIA

1. Leather holdall
bag, $3275, by
Ermenegildo Zegna.
2. Buckskin/rubber
boots, $2000, by
Giorgio Armani.
3. Leather bag,
$1295, by Bally.
4. Leather/neoprene
sneakers, $835,
by Tod’s.
5. Leather/nylon
backpack, $2050,
by Burberry.
6. Suede/leather belt,
$595, by Salvatore
Ferragamo.
7. Leather belt,
$2030, by Hermès.

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 STYLE

1. Leather shoes,
$1615, by Ermenegildo 7
Zegna.
2. Leather weekend 5
bag, $2690, by
Salvatore Ferragamo.
3. Leather woven
belt, $525, by
Salvatore Ferragamo.
4. Suede/leather
belt, $575, by
Salvatore Ferragamo.
5. Suede/leather
6
sneakers, $795,
by Bally.
6. Leather side bag,
$6365, by Hermès.
7. Leather overnight
bag, $5000, by
Giorgio Armani.

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 STYLE

1. Leather moccasins,
$690, by Tod’s.
2. Leather bag,
8 $1895, by Bally.
3. Leather sneakers,
$1150, by Dior Homme.
4. Cotton/leather belt,
$350, Bally.
5. Leather bag,
$12,325, by Hermès.
6. Leather belt,
$1290, by Hermès.
7. Leather woven
belt, $650, by
6 Salvatore Ferragamo.
7 8. Leather boots,
$1720, by Hermès.
9. Tartan wool
backpack, $995,
by Bally.

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 STYLE

THE ICON AV I ATO R S

A N O B S E S S I O N W I T H ’ 70 S S T Y L E B R I N G S
T H E   ‘ P I LOT L E N S ’ B AC K I N FAS H I O N AS T H E
S U N G L AS S E S O F C H O I C E T H I S S E AS O N .

Acrylic/brass sunglasses,
glasses, $325,
$32 by Bally. Metal sunglasses, $380, by Prada. Graphit sunglasses, $1375,
Graphite 5, by Sener Besim at OnePointSevenFour.
OneP evenFour.

Aluminium sunglasses, $570,

$5 by Dior Homme. Acetate sunglasses, $485, by Gucci. Metal sunglasses,
asses, $340, by Prada.

Acetate sunglasses,
es, $210, by Carrera. Acetate sunglasses,
s, $440, by Givenchy.
Givenc Metal sunglasses, $210, by Ray-
Ray-Ban.

PHOTOGRAPHY: EDWARD URRUTIA; GETTY IMAGES; ALAMY.

Robert Redford
From Sundance Kid to Hollywood
royalty, very few can claim to ageing
better than the charming Redford.
Fewer still can pull off mirrored
aviators and still look respectable.
Clint Eastwood
Aside from the fact he’s Clint
Eastwood and has been wearing
aviators longer than most of us have
been alive, he can actually fly planes,
so literally has a licence to wear them.
Tom Cruise
Dog tags and all, the sight of Top
Gun’s Lieutenant Pete ‘Maverick’
Mitchell et al playing beach volleyball
was a seminal moment in aviator
history. Who’s excited for the sequel?
Jake Gyllenhaal
Beard or clean shaven, smart or
scruffy, if there’s one constant in
Gyllenhaal’s get up, it’s every actor’s
best friend, his sunglasses. What sets
him apart is he always looks good.

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STYLE
P H OTO G R A P H Y JAM ES MU LLI N S

SIX OF THE BEST

F R O M W O R K S U I T S TO W E E K E N D T R AC KS U I T S,
T H E R E ’ S S O M E T H I N G FO R E V E RYO N E , E V E RY DAY.
 STYLE
LE F T TO R I G HT
Chris wears wool sports coat, $299, cotton shirt, $219, silk tie, $129, and wool pants, $299, all by Calibre.
Jay wears cotton suit, POA, cotton shirt, $99.95, and cotton tie, $69.95, all by Ben Sherman.
Vince wears wool double-breasted suit, $1195, and cotton shirt, $189, both by Farage.
Kane wears cotton suit, POA, cotton shirt, $99.95, and cotton tie, $69.95, all by Ben Sherman.
Elijah wears cotton blazer, $359, cotton shirt, $139, cotton tie, $49, and cotton chinos, $159, all by Aquila.
Josh wears cotton suit, POA, cotton shirt, $99.95, and cotton tie, $69.95, all by Ben Sherman.
 STYLE

LE F T TO R I G HT
Kane wears wool suit
jacket, $379, cotton
shirt, $119, silk tie, $69,
wool suit pants, $159,
and leather brogues,
$199, all by
Jack London.
Elijah wears
cotton/linen blazer,
$699, cotton shirt,
$199, cotton jeans,
$249, and leather
loafers, $399, all
by Calibre.
Vince wears wool suit,
$599, wool vest,
$150, and cotton
shirt, $120, all by
Peter Jackson;
microfiber knitted tie,
$35, by OTAA.
Chris wears wool
jacket, $699, cotton
crew neck, $219,
cotton shirt, $209,
wool pants, $299, and
leather brogues, $349,
all by Ted Baker.
Jay wears viscose
blazer, $159, cotton
shirt, $59.95, wool tie,
$39.95, viscose pants,
$69.95, and leather
sneakers, $59.95,
all by Zara.
Josh wears wool
jacket, $1099, cotton
knit, $279, cotton shirt,
$249, cotton pants,
$449, leather
sneakers, $539, and
leather bag, $1699,
all by Hugo Boss.

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LE F T TO R I G HT
Kane wears nylon
jacket, $350, cotton
pants, $199, and
canvas sneakers,
$129, all by
Tommy Hilfiger.
Vince wears cotton
shirt, $59.99, by
H&M; cotton pants,
$89.99, and leather
boots, $249, both
by H&M Studio.
Chris wears nylon
flight jacket, $59.90,
cotton shirt, $39.90,
cotton chinos,
$49.90, and leather
belt, $49.90, all by
Uniqlo; suede desert
boots, $210, by Clarks.
Jay wears cotton
shirt, $230, by Ksubi
at General Pants;
cotton chinos, $149,
by Dr Denim at
General Pants;
suede desert boots,
$210, by Clarks.
Elijah wears denim
shirt, $160, twill
shorts, $140, canvas
sneakers, $220, and
nylon baseball cap,
$60, all by G-Star;
cotton socks,
$4.90, by Uniqlo.
Josh wears wool
jacket, $449, wool
knitted v-neck, $159,
cotton chinos, $149,
suede desert
boots, $269, and
wool/cashmere
beanie, $69,
all by Saba.
 STYLE

LE F T TO R I G HT
Josh wears
cotton shirt, $99.95,
cotton T-shirt, $29.95,
and cotton chinos,
$99.95, all by Super
Dry; leather shoes,
$199, by Aquila.
Chris wears cotton
bomber jacket, $290,
cotton shirt, $180,
and cotton jeans,
$140, all by Calvin
Klein Jeans; leather
sneakers, $539,
by Hugo Boss.
Jay wears rayon
track jacket, $329,
cotton polo, $199,
rayon track pants,
$249, polyester
dry fit cap, $39.95,
and textile
sneakers, $125,
all by Lacoste.
Elijah wears
polyamide bomber
jacket, $130, cotton
shirt, $99.95, and
cotton jeans, $150,
all by Levi’s; leather
sneakers, $539,
by Hugo Boss.
Vince wears cotton
denim jacket, $380,
cotton jumper, $250,
and polyester
sneakers, $200, all by
Diesel; cotton chinos,
$89.95, by Super Dry.
Kane wears cotton
shirt, $99, cotton
T-shirt, $39.95, cotton
chinos, $120, and
linen baseball cap,
$49, all by Marcs;
elastic belt, $109
by Calibre; leather
sneakers, $120,
by Reebok at
General Pants.

Grooming Madison
Voloshin at Viviens
Creative using V76;
Charlie Kielty at Work
Agency using Nars
from Mecca
Cosmetica
Talent Elijah Tyedmers,
Josh Oliver, Jay
Marshall, Chris
Fleischer, Vince
O’Malley, and
Kane Gaundar, all
at Kult Australia.

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STYLE
 STYLE

FRESH
AS A
DANDY
SPRING IS IN THE
AIR, AND SO ARE
THESE SCENTS.

FRAGRANCE
S PEC IAL

SALVATORE FERRAGAMO VERSACE ‘DYLAN BLUE’

‘UOMO CASUAL LIFE’ EDT, EDT, $160 (200ml)
$91 (50ml) GREAT FOR:
GREAT FOR: day and night
feigning to be Italian The statuesque new size

PHOTOGRAPHY: EDWARD URRUTIA; FOR STOCKIST DETAILS, SEE PAGE 262.

We can’t attest that it’s will be a boon to those who
for a “dynamic man who tipped their olfactory
sketches his life as an lid to the first incarnation
adventurous,” but it of VDB. Top notes of
certainly is elegant with aquatics and fig cede
lemon, coffee, geranium, to the more substantial
cashmere wood and saffron, papyrus wood
a touch of white musk. and patchouli.

AMOUAGE ‘FIGMENT ROBERTO CAVALLI ‘UOMO ARMANI ‘CODE COLONIA’

MAN’ EDP, APPROX.
$395 (100ml)
GREAT FOR:
a good talking point
Built around a core of the
purest sandalwood we’ve
sniffed in a long time, next
to vetiver and the guaiac
wood in which the oud
resin forms.
SILVER ESSENCE’ EDT,
$80 (60ml)
GREAT FOR:
bucking old trends
This feisty floral relies on
punchy cardamom and
ginger over lavender and
geranium. And the bottle
is one of the most striking
we’ve seen all year.
EDC, $115 (50ml)
GREAT FOR:
a touch of  sophistication
The ‘Code’ range takes
another step forward
with ‘Colonia’, a light scent
that channels its Italian
heritage with mandarin
and pink peppercorns on
top of powdery heliotrope.

GROOMING E D I T E D BY DAVI D SM I E DT

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 LIVE HEALTHY.
STYLE DAILY.
INSPIRE OFTEN.
OPEN YOUR MIND.
OPEN A JAR.

For local stockist enquiries / Australia 1300 764 437 / New Zealand 0800 456 426 / info@sabre-group.com
 STYLE DIOR SAUVAGE ‘VERY
COOL’ SPRAY EDT,
$120 (100ml)
GREAT FOR:
your spring beach bag
‘Very Cool’ in the title of
a product usually smacks
of trying too hard, though
Sauvage’s latest
incarnation is the
exception. It’s more akin
to a body spray but
remains faithful to the
original’s clean and fresh
citrus base.
DOLCE & GABBANA
‘THE ONE FOR MEN’ EDT,
$73 (30ml)
GREAT FOR: impressing
at global corporate HQ
Just the right amount
of green notes such as
basil and coriander,
a touch of warmth thanks
to ginger, and tobacco for
some smoke. A stellar
trans-seasonal choice.

MOLTON BROWN
‘COASTAL CYPRESS &
SEA FENNEL’ EDT,
$88 (50ml)
GREAT FOR: the right PENHALIGON’S ‘SAVOY
side of sharp STEAM’ EDP, $279
If you like salty aquatics (100ml)
but feel the Mediterranean
GREAT FOR:
thing has been done to
years to come
death, be seduced by this
Pegged as unisex, this
cooler, deeper alternative
is the venerable British
with green herbal hints.
brand’s best release in
ages. Clean tops of
lemon and rosemary
HUGO BOSS ‘BOTTLED’ on a foundation of
EDT, $99 (50ml) eucalyptus and incense.
GREAT FOR: those who
prefer warmth over cool
at a decent price point
Cinnamon and cloves in
the mids provide an
elegant transition
between crisp apple up
top and sandal plus cedar
for base notes.

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ATKINSONS ‘HIS
STYLE
MAJESTY THE OUD’ EDP,
$305 (100ml)
GREAT FOR:
smelling of royalty
FRAGRANCE
S PEC IAL
Think you’ve smelt every
oud? Think again. This
super-luxe version blends
a hint of smoky resin with
lapsang souchong tea,
cloves and leather.

RESPECT
FOR DAVID
BECKHAM
W E LEAR N
V76 BY VAUGHN ‘BLUE
CEDAR’ EDT, $85 (100ml) TH E PROC ESS
GREAT FOR: B E H I N D TH E
authenticity ST YLISH RO LE
Unusual notes of coconut
MO DE L’S N EW
milk and violet gives
this American scent FR AG R ANC E .
a unique profile if the
current offerings are GQ: Describe David
making you yearn for Beckham ‘Respect’
something different. in a few words?
DB: Modern, fresh
and masculine.
GQ: So what did you
try to convey with
this new launch?
DB: When I started
the process, I knew
I wanted it to be
unique from any
fragrance I have
created in the
past. I’m always
TOM FORD ‘NOIR keen to make
ANTHRACITE’ EDP, each one distinct
$185 (50ml) from the  last.
GREAT FOR: GQ: Could you tell
the perfect evening scent us more about
Got wood? Mr Ford the concept
certainly has in this of  ‘Respect’?
slate-heavy release
DB. It’s a really
tinged with cedar,
macassar and Sri Lankan interesting
sandalwood as well as concept as it
a pinch of ginger and means something
sichuan pepper. different to each
person. Though it is
a universal principle,
everyone has their
own interpretation
of respect.
GQ: What’s the best
piece of grooming
advice you’ve
been given?
DB: I’m not sure
there is one piece
of style advice
I can single out.
Personally, I like
to mix up my style
and grooming
habits so my advice
would be to go with
your mood and
whatever you feel
comfortable with.
David Beckham
‘Respect’ EDT,
$49 (90ml)

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THE
FRAGRANCE
S PEC IAL

(NEW)
WILD
ONE
COACH CREATIVE DIRECTOR,
STUART VEVERS, DISCUSSES
THE LABEL’S LATEST SCENT,
‘COACH MAN’, ALONGSIDE
POSTERBOY AND GQ COVER

I
STAR JA M E S F R A N C O.

t’s been a few years between men’s sprays for

Coach. Four, in fact. And while it’s fair to suggest
that in that time they’ve failed to enlist a decent
copywriter (check some of the PR speak below),
it does out that the alluring American label’s takenn
care with what and where they want the new men’ss
scent to play. Also, who best embodies what the
ingeniously titled ‘Coach Man’ is about.
Enter actor, and this issue’s cover star, James Franco.
A multihyphenate known for artsy passions (acting,
writing, directing, painting) and quirks (cue a CV that
involves a catatonic level of on-screen spliffs, some decent
indie turns and a stint on General Hospital alongside
his mother), what Franco ultimately delivers the NYC
brand is a sense of cool – a point rammed home by the
James Dean-esque ad campaign shot by Steven Meisel,
starring Franco, vintage motor (a Plymouth Valiant)
and leather jacket.
Coach creative director, Stuart Vevers, first met
WORDS: TIFFANY BAKKER.

Franco to discuss his involvement with the fragrance

on the darkened set of the actor’s upcoming HBO
drama The Deuce.
“The set was like the backroom of a nightclub,”
says Vevers. “It was perfect.”
JAMES FRANCO IS THE Franco agrees. “Yeah, the show is all about the porn
NEW FACE OF ‘COACH
MAN’ FRAGRANCE.
industry and the sleazy New York of the ’70s, and I’m

134 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 STYLE

sitting there with my full-on porn ’stache – it just felt

like the perfect meeting place to discuss fragrance.”
Today, the pair’s reunited in the less dubious environs
of the label’s starkly minimalist New York headquarters,
where celebrations for its first men’s scent since 2013
take place over a breakfast of citrus bergamot donuts
and geranium and white asparagus flan. Yep, flan.
As the TVC plays on loop, the accompanying
campaign guff heralds an approach wanting to capture
an ‘American dreamer, a maverick spirit, an adventurous
risk taker with a rebel heart and a romantic streak.
[It] evokes a feeling – it has a New York attitude,
an American authenticity’. Eager to include some
alliteration, we’re also told the scent’s ‘curious,
confident, creative, cool’.
“I loved the idea of working with an American brand
and I was familiar with what Stuart had been doing since
he got to Coach – it really fit my sensibility,” states
Franco. “All of my style icons are American – from the
1950s and 1970s – and Coach was drawing on that real
kind of classic American influence. We seemed to share JAMES FRANCO TALKS FRAGRANCE WITH COACH
a lot of the same tastes. It was the perfect fit, really.” CREATIVE DIRECTOR STUART VEVERS (CENTRE).

Built on notes of veviter, suede and ambergris –

working to top notes of green nashi (pear), bergamot
and kumquat – the fragrance is both crisp and (their
words) ‘energetic’, entwined with a warmth that spills
from its woody base.
Interestingly, Franco’s fragrance story (yes, that’s
a thing) to this point has involved some petty theft,
lifting bottles of Guy Laroche’s ‘Drakkar Noir’ as a teen.
“We were idiots,” the actor admits, adding it was all
a ploy to impress girls. “We would drown ourselves in it.
We thought girls would be so into it.”
Vevers manages to steer things away from illegality
and back to fragrance,
stating the clear vision
he wanted to take with
the ‘For Men’ scent and
Coach’s partnership

“IT JUST
with Franco.
“I really focused
on how I see the Coach
guy and what it is that
inspires me about him, FELT LIKE THE
which is a maverick
with a nostalgic heart… PERFECT MEETING
The man who wears
this fragrance sums PLACE TO DISCUSS
THE FRAGRANCE.”
up New York – there’s
attitude, but there’s
also a bit of charm
thrown in.”
Sounds good. n
‘Coach Man’, (60ml)
$85; coach.com

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 135

 CANDLES
T H E R E ’S   N O D E N Y I N G T H E B O O M I N G W E A LT H O F M AS C U L I N E CA N D L E S O N O F F E R .
TO P TO B OT TO M , F R O M LE F T:
0 1 A R Q U I STE ‘AR T D ECO’
VE LV E T, $1 2 9 (2 51 g)
Blond tobacco, vanilla
absolute, amber and oak.
libertineparfumerie.com.au
WAX SCENTS
W H I L E W E ’ L L N E V E R C O N D O N E U S I N G T H E W O R D S ‘ L I T’ O R ‘ M A N D L E ’,
02 C I R E TR U DO N ‘ LE S B E LLE S
M ATI E R E S – R EG G I O’, $1 3 5 (270 g)
Mimosa, grapefruit and refreshing
mandarin. libertineparfumerie.
com.au
03 L’AR TI SA N PAR F U M E U R
‘ I NTÉ R I E U R F I G U I E R ’, $9 9 (2 5 0 g)
A single note of fig
exquisitely rendered.
libertineparfumerie.com.au
0 4 K I LIA N ‘ HA BA N A LE AV E S’,
$2 8 1 (2 3 0 g)
Sublime Monte Cristo tobacco
leaves and nothing else.
libertineparfumerie.com.au
0 5 D I P T YQ U E ‘M E NTH E VE R TE ’,
$74 (1 9 0 g)
The freshest of fresh green mint to
hasten the arrival of spring.
mecca.com.au
0 6 B E LL A F R E U D ‘ LI O N ’, $8 1
(1 8 0 g)
The unusual mix of pepper, star
anise and nutmeg make this one
intriguing. mecca.com.au
07 LE L A B O ‘ PA LO SA NTO’,
$1 1 0 (2 4 5 g)
Pine, mint and lemon also
known as the holy tree.
mecca.com.au  mecca.com.au
0 8 BYR E DO ‘ B I B LI OTH ÈQ U E ’,
$8 4 (2 4 0 g)
Think the old woods of a historical
library in a dusty European capital.
mecca.com.au
0 9 FO R NAS E T TI ‘G O LD E N
B U R LE SQ U E ’, $2 6 2 (3 0 0 g)
Just the right balance of balsam,
incense, birch and thyme.

REAL
MEN
SPA
I N T H E B OX I N G S E N S E , Y E S, B U T
U S G E N T S S H O U L D A L S O LO O K
AND FEEL RELAXED AND WELL
G R O O M E D AT A L L T I M E S . H E R E ,
S O M E T R I E D - A N D -T E S T E D S PA
T R E ATM E N T S W E R E C O M M E N D.
PHOTOGRAPHY: EDWARD URRATIA; ALAMY.
1 Ginger Bliss
TRY IT AT: QT HOTEL SYDNEY;
QTHOTELSANDRESORTS.COM;
$245 (90 MINS)
We’ve long been spaQ
fans and this new treatment
comprises a ginger and salt
exfoliation, followed by
a warming organic ginger
oil massage. You are then
cocooned in fabric so that
the therapeutic properties
of the ginger are absorbed.
2 Skin Needling
TRY IT AT: MANKIND SYDNEY AND
MELBOURNE; MANKIND.COM.AU;
$1000 FOR FOUR 60-MINUTE
SESSIONS
Think the results of a laser
treatment, without the
extensive recovery time. The
MDerma system uses sterile,
individually sealed needle
cartridges that create micro
channels in the skin to better
deliver nutrients and stimulate
collagen production.
3 Deep Recovery 5 Follicuzyme
Massage
TRY IT AT: FIND AN ENDOTA SPA VIA
ENDOTASPA.COM.AU;
APPROX. $125 (60 MINS)
You don’t get to be one of the
nation’s most successful spa
chains without knowing your
chakras, and Endota’s latest
massage offering uses jade
stones to knead away knots
while a custom blend of
essential oils melts tension.
4 Belkyra
Double Chin
Treatment
TRY IT AT: FIND A CLINIC VIA
NOMOREDOUBLECHIN.COM.AU;
APPROX. $2500 FOR TWO SESSIONS
A non-surgical injectable
alternative to going under the
knife for those with too many
chins. It breaks down the fat
cells after which point they
can no longer build fat. Hence
a smoother jawline.
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU
STYLE
TRY IT AT: HÜD SKIN + BODY,
MELBOURNE; HUD.COM.AU;
$240 (90 MINS)
If ingrown hairs and shaving
rash are a constant punish,
this treatment dissolves
follicles and dead cell material
and counters redness and
inflammation. For those
with particularly sensitive
skin, it may take a day or
two to settle.
6 Firming Body
Wrap
TRY IT AT: MUDD THE SPA, CANBERRA;
MUDD.COM.AU; $190 (90 MINS)
Give those crunches extra
effect and add tone to those
zones that are a tad slack with
this Performance Fermete
treatment. It’s a body wrap
and exfoliation designed to
strengthen collagen fibres.
7 Kitya Karnu
Scrub
TRY IT AT: THE PRINCE HOTEL
MELBOURNE; AURORASPA.COM.AU;
$225 (60 MINUTES)
Far and away the most
indulgent offering in
the Aurora Spa’s bespoke
men’s range. For starters,
you get a private steam
room where a full body
(well almost) application
of mineral salt takes place,
followed by a walnut and
wattleseed exfoliant, hair
treatment and hydrating
facial cleanse then masque.
8 Emergin-c
Radian-C Facial
TRY IT AT: HARBOUR DAY SPA, RABY
BAY, QUEENSLAND; HARBOURDAYSPA.
COM.AU; $190 (75 MINS)
If you hadn’t guessed from
the radical typography, this
NY-based brand is all about
the skin-clearing, moisture-
boosting, radiance-enhancing
power of vitamin C in a facial
that goes beyond just a feel-
good exercise.
137
EXPERIENCE AMAZING

To launch the Lexus LC 500,

we asked the world’s #1
best-selling author to review it.

THE
LC 500

As experienced by JAMES PATTERSON

At first glance, it strikes me that the Lexus LC 500
is clearly a beast, waiting to be unleashed upon the road.
One thing that sets the LC 500 apart from any other
car I’ve driven is its almost surreal connection to the
driver. I don’t sit in an LC 500; I get immersed in it. I’m
impressed beyond words, by how this exquisite machine
has been engineered for – somehow bespoke – tailored to
– the driver. I feel as close to this engine as a jockey to a
thoroughbred. Just, much more comfortably so.
Deep, lush leather seats, contoured shifter, an elliptical
steering wheel – this keeps getting better…
One of the most surprising and memorable aspects of the
LC 500 driving experience is the sound – the beautiful
noise, the car’s roar. One touch of the engine start button
and a symphony begins – its engine note sounds part
Beethoven, part Hendrix.
I execute some deft – if I do say so – passing maneuvers;
but I have zero worries about the LC 500’s ability to shoot
a gap.
I take a sharp right turn, then a left, and another right,
and the LC 500 hugs the road like a lover. That’s not
exaggeration, it’s an understatement.
On the interstate access road, I bank sharply left,
avoiding a delivery truck that somehow forgot to signal
that it wanted to turn in front of me. I marvel at how
effortlessly the LC 500 sidesteps potential danger, or even
inconvenience. Also, how so many drivers I pass turn their
heads and gawk. Seriously, nearly everyone stares at this
dream masquerading as a car.
It’s an adrenaline rush watching the rest of life trying
to keep up in the rearview mirror.

On the ramp to Interstate 95, I punch the accelerator

This is not digitally filtered amplification. It’s organic.
and seamlessly transition into seventh. Minutes later,
as I slide right for the airport exit, I note the driver
I’ve heard overenthusiastic enthusiasts talk about being I just passed, apparently mesmerized by my afterburner-
behind the wheel of a high-performance car as being in inspired infinity tail-lights.
the cockpit of a fighter jet, but so far as I know – there isn’t
an aircraft on Earth that is this wild, this elegant, this
Suddenly, I realize – I am so not looking forward to this
much pure, unadulterated fun to drive. If there was an
plane ride. A seductive notion occurs. I was going to write
ejector seat on the LC 500 – I would never use it.
on the plane, but I’m ahead on all my work. Including,
now, this review. What’s it to Miami? Seven hours in a
I flash out onto the road and conduct the direct-drive
conventional automobile? But the LC 500 is no conventional
V8 orchestra into its next 10 movements – I mean gears.
automobile.
You heard it right, the LC 500 has 10 gears. The action is
conducive to musical rhythm. Each transition is smooth,
resonant and perfectly natural. I’m still new to this sports I might even take the scenic route. Maybe I can find some
car, but it doesn’t require the usual learning curve. Second tunnels to further amplify the engine’s growl.
is as easy to attain as third as is fourth as is… Hey, I’d
better watch my speed ’til I’m on the open highway. What an astonishing ride, what a sports car, how
intoxicating life becomes when you’re behind the wheel of
The widescreen visibility and my sense of the car’s snug an LC 500.
position on the road continues this unique experience of
driving an LC 500. As I make my way down the state road, I think I just experienced amazing.
Overse
Overse
s as mod
model
el sho
shown
wn
FO R N E W S , R E V I E W S A N D V I D EO S O F T H E B E ST N E W CA R S , H E A D TO G Q . C O M . AU

CARS

THE NEW DAYS

OF DISCO
WHILE LAND ROVER’S DISCOVERY REMAINS AN
IMPRESSIVE OFF ROADER, IT’S THE CITY THAT REMAINS
THE CALL OF THE WILD FOR THIS LUXE ALL ROUNDER.

W O R D S R IC HAR D C LU N E
W
e’re plundering the
latest Land Rover
Discovery through
a large puddle of water
that’s been poured in
the outback – 20 clicks
from Uluru – for our benefit.
“Keep it steady and don’t go too quick,”
we’re told. And so we head in too fast and
swash silty brown slush up over the bonnet
– to the amusement of those gathered who
don’t work for Land Rover. It shouldn’t
matter – the new engine, we’re told, can
“breathe” underwater and the wading depth
of the new Disco is an impressive 900mm
(up 200mm on the previous model).
Next comes a moguls course,
a cluster of hardened obstacles
that mean increasing the
car’s height by the
press of a solitary
button to let the
vehicle know it’s about to drive across some
extreme speed bumps.
Given the engineering clout and tricked-
up tech of what lies beneath, it’s all rather
easy – nudging up and over the hardened red
dirt boulders, front wheels independently
airborne before driving out onto the flat.
It was during our second assault of this
staged NT circuit that we started to ponder
just how many of these new, luxury British
SUVs would actually make it outdoors.
It was clearly also the concern of one
of this trip’s seasoned motoring hacks –
a predominately heavy-set collection of
men whose lives seem to revolve around
accruing air miles and free motoring jackets
– who asked as much, wanting a percentage
breakdown from those at Jaguar Land Rover.
None was forthcoming, though the
marque’s brass didn’t shy away from
discussing where this, Land Rover’s fifth
and latest iteration of the much-loved
Discovery, would end up – on tarmac,
doing school and weekend sports runs.
For all its ease at devouring sandy
bush tracks, the Disco remains
a status symbol for city
types – a car that
speaks of certain wealth and boasts about
the idea of adventure, even though its most
punishing outing will likely involve ferrying
a half-dozen seven-year-olds high on sugar
following a party.
And this is a shame – given the capabilities
of what the car can really do when it comes to
finding a path where there isn’t one.
The first thing to really strike is the new
model’s updated shape. Gone is the brutal
squareness of before in favour of a more
rounded, fuller structure. That’s not to say
she’s fat – the lines that pull from the bonnet
are still sleek, though the rear is a little
‘Kardashian-esque’, especially noticeable
in side profile. The junk in the trunk’s
necessary to accommodate a third row of
seating for the seven-seaters, an option we’re
assured will accommodate three adults.
Despite such growth, the car actually
carries less weight – the new, largely
aluminum body meaning it hits the scales
a whopping 480kg lighter than before.
There’s a trio of diesel engines to choose
from, each with an eight-speed transmission
and available across four different finishes:
S, SE, HSE and HSE Luxury.
While $65,960 will get you the five-seat
four-cylinder, 2.0-litre S Td4, it’s the range-
topping HSE Td6, with 3.0-litre V6, that
feels right – a $103,760 spend that delivers
190kW and 600Nm with a 0-100km/h
time of 8.1 seconds.
Some claim that the opulence of the new
Disco sets Land Rover on a collision course
with its luxury Range Rover siblings, though
this suggests the bush basher’s gone a bit soft
– which it hasn’t, even if it’s talked about as
‘the ultimate family SUV’. It’s about riding
high, cocooned in leathery-luxury – even off
road the ride is quiet and smooth – with an
ability to wedge a lot of stuff in. There are
21 varying seat positions across the three
rows – the last two can be driven completely
flat via the press of a button, or via an app.
As for connectivity, the car boasts nine USB
points and six 12v charging points.
It’s all very impressive, so too the Advanced
Tow Assist, which will please any man who
sweats a little when it comes to reversing
whatever’s attached out back.
Since it first arrived in this country in
1991, more than 65,000 Australian motorists
have claimed ownership of a Discovery.
And now with the refined tweaks, increased
luxe and connectivity, that number’s sure to
quickly increase – even if there’s little off-
road driving being done. n
Available now; landrover.com.au
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 41
 CARS

W E H E A D FO R
B M W ’ S LO S
ANGELES
D E S I G N W O R KS
S T U D I O – TO S E E
T H E I N F LU E N C E
OF AIRLINE
CA B I N S O N
THE DRIVING
O F TO M O R R O W,
AND LEARN
T H AT F U L LY
AU TO N O M O U S
VEHICLES ARE
O N LY F I V E

FUTURE
Y E A R S AWAY.

DESIGNS
I
t may make HSV-jacketed
old men weep, but it’s true
– the future of driving
is clearly not going to
involve much driving
at all. But when the
inevitable autonomy arrives and
the steering wheel goes the way
of the cassette player, what will
cars look and feel like?
Happily, the answer from
car companies, who’ve already
been working feverishly on this
eventuality for years, is that it
will be a lot like flying business
class, or, if you can afford a really
high-end vehicle, even first.
This shift towards cosseting
“The interior design of the
vehicle is going to have a stronger
influence on the proportions than
before, design from the inside
out, if you like,” she says.
GQ recently strapped on some
designer specs and natty braces
for a visit to BMW Designworks,
a high-tech, highly slick campus
of trendy imagineers dedicated
to working on non-car-related
projects since 1972, and which
now employs 135 people from
14 different countries.
Laurenz Schaffer showed us
the new first class cabins his
team had created for Singapore
Airlines, partly because it’s
2025, with the steering wheel
gone, and it will be very much
like a flying experience, which is
why it helps to work with planes
now,” explained Schaffer.
“We’re already working on
customer scenarios; what will
people do in those two hours
a day they used to spend driving?
What will they consume, who
will provide the content and
how will we be able to profit share
with people who provide it?”
Designworks has recently
taken its collaborative learnings
back into the car world, with the
unveiling of its BMW ‘i Inside
Future’ sculpture at this year’s
they please. The open, airy
cabin is packed with futuristic
technology, including the Star
Wars-sounding ‘HoloActive
Touch’ interface, yet it’s
not overwhelming.
“The concept was designed to
answer such questions as ‘when
cars drive themselves where does
that leave the driver?’ and ‘how
will the interior geometry change
when the focus is no longer the
steering wheel?’” explains Robin.
“We also wanted to challenge
some of the takes we have seen
on future mobility that paint
a rather cold, sterile environment
and look towards humanising
WORDS: STEPHEN CORBY.

and entertaining all of the car’s
occupants equally, rather than
focusing on the driver, will turn
the design world not just upside
down, but inside out, according
to Laura Robin, director of the
BMW Designworks LA Studio.
a paying job for his company,
but also because BMW knows
that the crossover between flying
and car travel is very much the
way of the near future.
“I think we’ll have fully
automated cars on the road by
CES (Consumer Electronics
Show) in Las Vegas.
Viewed from above, you can
see the airline influence, with
the cockpit becoming more
like a living room with separate
zones for passengers to do as
the design.
“In aviation we’re seeing
furniture-like geometry,
somewhat borrowed from
aircraft lounges, with natural
materials projecting more of
a ‘living environment’ coming

142 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17


VARIOUS VIEWS
OF BMW’S
CONCEPT
‘i INSIDE FUTURE’.
BMW knows
into our work in aircraft business
and first class cabins. It’s
that the moving away from the notion
crossover
of ‘designing a seat’ to ‘designing
an environment’.
between “Moreover, as we navigate
flying and
through a proliferation of screens
in our daily interactions, with
car travel inherent distractions, we wanted
to create an environment where
is very technology was on-demand
much the and invisible when not needed.
Using a ‘HoloActive Touch’
way of the interface for the main controller
near future. eliminates obstruction and
overall clutter and interacts with
a panoramic front screen that
adopts the sculptural surfacing
of the interior.”
Aside from its many obvious
and annoying failings, the
commercial airline business does
have expertise in influencing
your perception of space, mainly
through the use of light, colour
and materials.
In the case of first class cabins,
Designworks’ goal is to make
the environment feel “special
and intimate,” which it does by
using different colours, fibres and
finishes on the interior space, as
opposed to the surfaces that face
out towards the aisle.
Designworks also works with
consumer-electronics clients
on ‘Smart City’ projects and
is involved with ethnographic
research on people’s
expectations for the future of
connectivity, personalisation
and “seamlessness”.
While BMW’s ‘Future’
sculpture moves away from
the clinical concept cars we’re
used to seeing, is it still a case
of function over form, and
practicality over beauty?
“As designers we play with
those sliders a bit,” admits Robin.
“No matter what, we strive to
balance meaningful functionality
[it has to fit a need and deliver
on that need exquisitely] and the
proper aesthetic expression.
“Must design always be
‘beautiful’? Maybe not. But
it must make us feel. Feel
delighted, or provoked. Feel
confident, or challenged.
“The beauty we strive
for is a holistic beauty – the
visual aesthetic leads us into
an experience, but the beauty
is rounded out by a well-
conceived, essential and
considered user experience.”
Robin says all of the world’s
automotive companies are
looking at the implications of
an autonomous future for their
brands and design work.
Mercedes-Benz, for example,
is working with Boeing on cabin
architecture and new seats that
are capable of monitoring and
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU
CARS
even improving your health while
in a car.
At the more mass-market end
of motoring, Carlos Ghosn, the
enigmatic and opinionated CEO
of the giant Renault-Nissan
Alliance is predicting a rapid rate
of change.
“By 2022, most of the cars
on the street will have some
kind of autonomy as well as
some kind of connectivity, and
the premium market is going
to be totally autonomous and
totally connected,” he says, and
by connectivity he means fully
content streaming, FaceTiming-
and wifi-enabled.
“You’re going to have massive
growth in the next four or five
years because it’s such a huge
advantage for the driver. This
will change the way people see
cars, because your vehicle will
become a mobile space where you
can work, you can rest, you can
relax, you can video conference.
Compare that to today where it’s
a transport device – you sit there
with your eyes on the road and
you can’t do anything else but
listen to music.”
Ghosn says that if you look at
how much time people currently
spend, on average, in their cars
– which is an hour a day in the
US and Australia, and up to two
hours in parts of Europe and
China – you really are looking
at changing the way you live by
clawing back that time.
“What’s driving autonomy is
that the customer will want it. It’s
a productivity gain, it’s adding
quality of life and giving time to
the consumer, because you can
suddenly use those two hours to
finish your reports, teach your
kids, read a book,” he says.
“Obviously, this is of huge
interest to the car makers because
it means the car becomes an
even more indispensable part of
people’s lives. It’s integral now,
but it’s only a device for getting
your body from one place to
another. Once we have autonomy
and connectivity, it becomes
a mobile space to live in.” n
bmw.com.au
143
 CARS
MOUNTAIN
HIGH
A H E A D O F O C TO B E R ’ S B AT H U R S T 1 0 0 0,
W E TO O K O N T H E FA M E D M O U N T
PA N O R A M A T R AC K I N A G Q - A P P R OV E D
F
V8 – A $ 6 0 0,0 0 0 F E R R A R I 4 8 8 GT B .
ear is a bitch of a mistress. More often
than not, she sits in the passenger
seat every time you head out on to
a racetrack, but when that track is the
towering terror of Bathurst’s Mount
Panorama, and the car is a Ferrari with
almost 500kW, she seems to sit on your chest, while
playfully kicking you in the bollocks.
Seated in the unfamiliar but lovely surroundings
of Ferrari’s 488 GTB, on the more familiar starting
grid, it’s hard not to keep playing all the spectacular
accidents you’ve seen on TV here over the years in
144 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
your mind – and to ponder whether it might be
safer to spend the laps you’re about to attempt
behind a safety car.
Instead, we’ll be following a couple of over-
excited owners – people whose ability to drop
$600,000-plus on a car makes them instantly
annoying – and one male model-cum-‘racing driver’
The whole
top half of
Mount
Panorama
whose helmet struggles to fit over his dangerously
sharp cheek bones.
is a soaring,
shit-scary
People are talking over the radios about whether
we’ll hit 300km/h (the car is capable of 330km/h,
and can reach 200 from zero in just 8.3 seconds,
test of what
a car can do,
so anything seems possible), but I can’t join in
because every drop of saliva in my body seems
to have pooled in my shoes.
and how far
WORDS: STEPHEN CORBY.
the human
Normally, racetracks are fantastic fun because
they give you the space and the sight lines to
attack every corner. You have the full width
of the road at your disposal and can see that if within is
you stuff up, or get too heroic on the brakes, willing to
there’s plenty of run-off and gravel traps
to save your blushes. push it.

The Mountain is different, which we quickly
discover after breasting the huge hump on
Mountain Straight at 230km/h – at which point
all the air in my body was also trying to hide in
my shoes – and jag into a sharp, uphill canyon.
It’s here that the very hard and hurty-looking
walls close in on you for the first time and you have
to drive straight at them, then wrench the wheel
to the left, aiming for an apex you can’t see, but
must be there because you’ve seen it on television.
This is what the term ‘blind corner’ means, and
it’s not fun. Imagine doing a trust exercise in which
you have to run flat out at a wall, and you’ve been
promised that someone will pull it out of the way
just before you make contact. It’s a bit like that,
except that what stands to be damaged if things
go wrong is not just your body, but a hugely
expensive Ferrari that doesn’t belong to you.
The whole top half of Mount Panorama is
a soaring, shit-scary test of what a car can do, and
how far the human within is willing to push it.
To get the high-speed approach into Sulman Park
just right, V8 supercar drivers try to kiss the wall
with their door handles on corner entry – I’ve stood
at that bend and watched them shear off wing
mirrors. It looks terrifying enough from the hill,
but it’s a lot worse from the driver’s seat.
On the plus side, the walls do magnify the
outrageous bellowing caterwaul of the Ferrari’s
twin-turbocharged V8 engine, right behind your
ears. And when you do get a corner right, finding
that invisible apex and slamming the throttle
towards the next one, the thrill is overwhelming, as
fear allows you to whoop loudly for a brief second.
The rush down the mountain, through the
vertiginous switchbacks of The Esses to Forrest’s
Elbow (named after some poor motorcyclist who
fell off there years ago, and left his elbow behind,
in pieces) is hard on your brakes, and your heart,
but from there you are into the legendary Conrod
Straight, and your shot at 300.
Sadly, what doesn’t come across on TV is just how
steeply said straight rises in the middle, meaning
your car gets light at around 270km/h, causing your
right foot to panic and stab the brake pedal.
You’re out of the walls now, thankfully, and the
last couple of bends, through The Chase and on to
the Pit Straight with its typical racetrack joy – high-
speed, high g-force and high on adrenaline.
Or they would have been if it weren’t for the male
model, who it turns out isn’t as at home in a race suit
as he looks. The chiselled chap in question managed
to cross up his 488 coming out of the last bend and
bouncing back into our path, potentially taking out
at least three Ferraris in what would have been
a multi-million-dollar mess.
Mount Panorama is an unforgettable place to
drive fast, but all those crashes you’ve seen on
TV are entirely understandable, because when
it bites, it bites hard. n
THE FERRARI 488 GTB
Supercars were already fairly
alarming machines before the
488 arrived, but it has taken
outrageous performance
to its limits.
The F1-trained engineers
at Ferrari have somehow
extracted 492kW and 760Nm
from a V8 engine of just 3.9
litres, which is like training
a four-year-old to hit as hard
as Mike Tyson.
The not inconsequentially
beautiful looking 488 can
explode from zero to 100km/h
in three seconds flat, but it’s
the zero to 200 time of 8.3
seconds that really
rearranges time and space,
and makes it borderline unsafe
to drive on public roads.
Fortunately, a host of clever
electronic gizmos keep the
rubber planted to the road and
driving it is actually almost
easy, as long as you haven’t
blacked out from the g-forces
it creates around corners.
Predictably, it’s not cheap,
at a starting price of
$469,888. Throw in a few
necessary options, like
$21,739 paint and $10,500
wheels, and the car we drove
quickly hit a grand total of
$625,278. Whoa. ferarri.com
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU
CARS
Know Mount
Panorama
Mount Panorama has been a loud and
colourful part of Australia’s sporting
tapestry for decades, with its first
staging in 1963.
But the track’s first event was the
Australian Grand Prix, in the far braver
days of 1938. Modern F1 cars would never
be allowed to race around such a steep
and technically unsafe track, with its
6.2km length surrounded by trees, walls
and, infamously, had the odd adventurous
kangaroo cross it.
Perhaps the most insane people ever
to ride their luck on its steep slopes
(there’s a 174m vertical rise from the Pit
Straight to Brock’s Skyline at the top)
were the motorcycle racers who
competed here in the Australian
Motorcycle Grand Prix which then just
became known as the Easter races, before
some unfortunate rioting and mindless
violence shut the whole thing down.
While it has proved a theatre of dreams
for many larger-than-life characters over
the years, from Dick Johnson to Jim
Richards, the undisputed King of the
Mountain was Peter Brock.
Brocky, or Peter Perfect as the fans
called him, won the Great Race an
incredible nine times. In his day, he was
unbeatable around The Mountain, and
in 1979 his winning margin was an almost
unfeasible six laps.
In the same year, Bathurst also changed
the way everyone in the world watches
motorsport. It was the place where
Channel 7 unveiled the world’s first in-car
cameras, RaceCam, putting viewers in
the driver’s seat in a feat of technological
brilliance we now all take for granted.
145
Our spirit flies further
Introducing Qantas Dreamliner

Subject to government and regulatory approval. ABN 16 009 661 901

 F I N A N C E , I N N O VAT I O N , B U S I N E S S S AV V Y A N D T H E K E YS T O S E C U R I N G P R O F E S S I O N A L S U C C E S S

INC.
yourr
nextt
Careerr
Movee THE GQ
GUIDE
TO

JOBS ARE NO LONGER FOR LIFE –

B U T   E X A C T LY H O W L O N G I S T O O L O N G
I N A   C O M PA N Y B E F O R E C H A N G I N G
L A N E S ? A N D W H AT M O T I VAT I O N D O YO U
N E E D T O   Q U I T A N D M OV E O N T O K E E P
T H I N G S F R E S H ? W E ' R E H E R E T O H E L P.

W O R D S DAVI D HALLI DAY

 INC.

T
o develop a career portfolio,
changing jobs used to be
considered the exception.
Now, it’s become the rule, one
where staying in a single gig
for too long is more hindrance
than help. If you’ve hit a dead-end in terms of
progress and you’re surrounded by colleagues
who you hate, or who seem to have signed on
for life, it’s time to pull the ripcord and land
elsewhere. After all, you can now do so with
impunity, according to Tracy Cashman,
senior vice president at WinterWyman
international recruitment firm.
“Job hopping is less frowned upon
than it used to be,” states Cashman,
“though companies may still be suspicious
of people who have too many stints of one
year or less”. “If you’ve an eyebrow, knowing how people can
become set in their ways.
Like so much in life (except for sex), it’s
about moderation – as hiring types and hunched over According to Cashman, companies may
feel that those people aren’t motivated in
managers, when confronted with a CV
cluttered with different company names, the one desk for their career progression or, worse, are so
ingrained in a particular way of thinking
think along these lines:
more than five and approach to work that they can’t adapt

years, a potential
a) Do they get bored easily? b) Are they the to a new environment.
first to be benched in a layoff because they’re If you’re fortunate enough to move

new employer
not an ‘A team’ player? c) Do they have often (but not too often), you can point
a contractor’s mentality? to experience in a number of different

On the flip side, don’t plant your roots too
deep. Ten years in a role used to show career
loyalty and dedication. While that’s still true,
Cashman says “more companies are reluctant
to hire people who’ve been at one place their
whole work history”.
You want a résumé to show smatterings
of a little life and movement. If you’ve
hunched over the one desk for more than five
years, a potential new employer might raise
might raise
industries, and exposure to a variety of
challenges, which can lead a prospective
an eyebrow...” employer to feel you’re flexible and
a quick learner.
Often, those who move frequently are
recruited by people they’ve previously
worked for, or with, and who’ve moved on
themselves. This can be another gold star
on a track record, a firm sign that people
want to work with you again.

A TWO-MINUTE GUIDE TO JOB HOPPING

CHRONICLE KEY
ACCOMPLISHMENTS
Was the Jenkins account in your last job
or the one before? With extra companies
come extra layers of confusion. Create
a record of your accomplishments.
Just. Keep. The. Details. Clear.
LIST BEFORE
YOU LEAVE
Each time you leave a job, list information
about your most recent position on your
CV. That way you won’t need to think
about it 2-3 years from now when ready
to make the jump again.
DON’T BURN
YOUR BRIDGES
Your ex-boss may be a dick, but don’t say
that when you slam the door on your
way out. You’ll need one or two decent
references from each of the last three
or four places you’ve worked.

148 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 INC.

QUIZ TIME
SIMON BENNETT, PRINCIPAL CONSULTANT FROM GLIDE OUTPLACEMENT AND CAREER
COACHING, SAYS THE LENGTH OF TIME YOU STAY IN A JOB DEPENDS ON A NUMBER OF
EMBRACE
A SECOND
CAREER
For former professional
FACTORS. TAKE THE GQINC QUIZ AND SEE WHETHER IT’S TIME TO MOVE ON OR STAY PUT. surfer Luke Stedman,
retirement landed
decades earlier than it

Q1 Q4 does for most, forcing

a rethink, at just 30, as
to what his second act
YOUR AGE? HOW IS CHANGE PERCEIVED IN YOUR INDUSTRY? would be. Here, the
41-year-old opens up
A. 20s. A. A given after 10 months. about his experiences
B. 30s. B. As an unavoidable fact of life after a time. and learnings as founder
C. 40s and beyond. C. As an affront to both God and man. of menswear label
Insted We Smile.
“We launched in
2013 with T-shirts and

Q2 Q5
I came in so naive – I had
no idea, no real textile
knowledge, I didn’t know
NUMBER OF YEARS WORKED HOW HAPPY ARE YOU IN YOUR ROLE? about print application
IN CURRENT ROLE? processes or fits and
A. Meh. The stocked bar fridge is nice, fabrications – I was
A. Years? Try months. but don’t all jobs have that? completely blind but
B. More than a few years – have made B. Happy enough on finding a groove I thought, fuck it, let’s
some inroads, but you’re getting just jump in. Looking
– can stick things out until it’s the right back, I should have only
restless and keeping an ear out. time to move. started things after
C. Literally centuries in dog years. C. Co-workers have become family members. much more market
research, I should have
mapped things out and
had a stronger game
plan and a real blueprint

Q3 Q6 about what it was we

were trying to achieve.
“I wouldn’t be here if I
TOTAL NUMBER OF YEARS YOU’VE BEEN WHAT ARE YOU HOPING TO ACHIEVE IN YOUR
WORKING (ALL JOBS)? CAREER - WORK/LIFE BALANCE FOR EXAMPLE, hadn’t had mentors. Kym
OR RAPID PROMOTION? [Ellery, designer and
A. Does shelf-stacking count? former girlfriend] really
B. The ten-year high school reunion A. Promotions pay more, right? showed me the way
– she’s incredible,
was ten years ago. B. Both. awesome at strategy
C. You recall free tertiary education. C. Promotion, if there were any more and financial planning
rungs left on the ladder. as well as being an
incredible designer. You

RESULTS
need to ask and be open
to learning from others.
“Social media’s been
imperative, I don’t
understand how anyone

MOSTLY As MOSTLY Bs MOSTLY Cs can exist without it. For

You’ve barely clocked a year
in a role and you want out.
Fine, since you’re so early in
ADDITIONAL WORDS: RICHARD CLUNE.
Put your shoes on because
you’re ripe for walking into
a new challenge. Sure, you
a brand like us with no ad
budget, it’s a must. We
You’re an expert in what also try and align with
you do. You have a long the right people – Chris
[Hemsworth] has been
career history, and no one a huge supporter and

your career, job-hopping may
not matter. Just watch you
don’t gain a rep for flitting
about. Best thing may be to
download a meditation app
and stay put. Our advice?
Gain some more experience
and you’ll be better off
when you start looking.
may have hit a wall after 3-5
years punching into the same
clock, but with that has come
a perfect blend of youth
and good history in the
industry, as well as a swag
of experience in the one
place. Wherever you land,
they’re lucky to have you.
grasps industry nuance or he’s epic because he
organisational esprit like loves to surf. We’re
growing nicely and now
you do. Far be it from us
have accounts across
to say what you should do, the US, HK, China and Oz.
but you’re closer to the end “The key’s to have
of your career than the goals, be led by passion
and to fuck fear.“ Head
beginning, so you may want to gq.com.au for more
to investigate the company from Stedman;
position on gold watches. instedwesmile.com

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 49
 INC.

The
Inc
list
“IT’S VERY
EASY TO
BE DIFFERENT,
BUT VERY THE APP
DIFFICULT Requesting external meetings

TO BE
and opportunities to Skype
can be a hassle given the
back-and-forth emails

BETTER.” 
JONY IVE,
APPLE’S CHIEF DESIGN OFFICER
(AND LIVING DESIGN LEGEND).
often needed to agree upon
a convenient time for all
parties. That’s why we’re fans
of Calendly – simply email
a link and have scheduling
instantly align with what you’ve
already got in play (beyond
that unforeseen late lunch).
PREMIUM SUBSCRIPTION
APPROX. $10 A MONTH;
CALENDLY.COM

THE BOOK
Psychopaths, we recently THE PEN
read, drink G&T and black Because, quite literally,
coffee. It’s to do with a real man seals any deal
a yearning for bitterness, with his favourite pen
according to some uni boffins. and signature. Thanks
Well, in that case – there’s a to the shorts-obsessed
wealth of them working around American designer Thom

THE
us on a daily basis, which is Browne, your chosen
why this new tome from David weapon to sign on the
Gillespie comes in handy – dotted line will whip up

PODCAST
outing ways to identify those as much attention and
who too easily infiltrate envy as in that business
organisations and affect card scene in American
a workplace, and offering Psycho. And the Social media is a must –
ways to deal with toxic types mechanical pencil in a grouping of platforms
who are often attached to the set can be for deals that can deliver on
positions of power. still being negotiated. cut-through and aid
TAMING TOXIC PEOPLE, business success unlike
PHOTOGRAPHY: GETTY IMAGES.

THOM BROWNE
$32.99; MACMILLAN ‘GOLD-TONE PEN AND any other. It’s for these
AUSTRALIA PENCIL SET’, APPROX. reasons, and more, that
$490; MRPORTER.COM the Social Pros podcast
is a necessity – providing
insights on how to make
the best use of what’s
available, including
insightful interviews
and conversations with
market leaders.
FREE; iOS

150 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

diesel.com
 THE REVIVAL OF AN ICON
EDOX DELFIN – 1961 Birth of the world famous Edox
Delfin timepiece. Patented crown system. Double case
back. Shock resistant. 200 m Super Water Resistant.

VIC 8th Avenue Watch Co., Emporium Melbourne, 03 9639 6175 | 8th Avenue Watch Co., Westfield Doncaster, 03 9840 6304 | 8th Avenue Watch Co.,
Chadstone Shopping Centre, 03 9569 7652 | Temelli Jewellery, Melbourne, 03 9639 5556 | Temelli Jewellery, Highpoint Shopping Centre, 03 9317 3230
Temelli Jewellery, Westfield Knox Shopping Centre, 03 9800 0799 | Temelli Jewellery, Eastland Shopping Centre, 03 9879 8459 NSW Atlas Jewellers,
Parramatta, 02 9687 9474 | Hennings Jewellers, Campbelltown, 02 4626 3529 | Melewah Jewellery, Haymarket, 02 9211 5896 QLD 8th Avenue Watch Co.,
Pacific Fair Shopping Centre, 07 5575 4883 WA All About Time, Balcatta, 08 9349 0600 VANUATU Elysium, Port Vila, Vanuatu, 678 28028
 YO U R E S S E N T I A L G U I D E T O T H E B E S T W R I S T W E A R

WATCH
E D I T E D BY M I KE C H R I STE N SE N

BEST OF
BASELWORLD
2017
A L L T H E N E W S F R O M T H E B I G G E S T WATC H FA I R O N T H E P L A N E T.
 WATCH

EDITOR’S LETTER
E 1
very year, the finest watchmakers in the
industry gather together to each boast about STA I N LE S S STE E L
their most precious new offerings at the Swiss ‘AU TAV IA’, $6 6 0 0,
BY TAG H E U E R
timepiece Mecca, more commonly known Huge - the return of
as Baselworld. From TAG Heuer to Richard this icon simply can’t
Mille, anyone’s who’s been will know it’s like be downplayed.
no other sensory overload you’ll ever witness.
Over the course of four action-packed days, we made it
to nearly 40 appointments, putting our left hand forward
and proving to be a great mannequin for the countless
masterpieces on show, knowing that each piece had been
made with the kind of pride, expense and craftsmanship
that genuinely defies belief sometimes.
Of the many highlights, ranking high was our in-
depth conversation about a watch’s “cheerful moments”
with Laurent Dordet, the ever-inspiring chief executive
of La Montre Hermès. The fashion big boys were well
represented, with Gucci making a strong impression this
year with its Alec Soth-created meme series. And as always,
it was a pleasure to catch up with the latest face of Bulgari’s
watches, model Jon Kortajarena (trust us, you know him),
not to mention being hosted for the evening by Hublot,
Ricardo Guadalupe and none other than Depeche Mode.
But most notable for its continued growth and presence,
were smartwatches, with TAG Heuer creating the biggest
noise around the Baselworld corridors. There’s no doubt
the likes of TAG’s ‘Connected’ series will bring new watch
lovers to the table, which is both exciting and necessary for
the watch world. Now, until next year.

PR E V I O U S PAG E , O N TH E COVE R
Stainless steel ‘BR-X2 Tourbillon
MIKE CHRISTENSEN
M ANAG I N G E D ITO R
WRIST PORN
Some of the best watches
Micro-Rotor’, POA, by Bell &
Ross at Lion Brands. we tried on from Baselworld.

2 3 4 5 6
YE LLOW G O LD STAI N LE SS STE E L STA I N LE S S STE E L YE LLOW G O LD STA I N LE S S STE E L
‘M AR I N E G R AN D E ‘S U PE R H E R ITAG E I I ‘ HYPE R C H R O M E ‘OYSTE R P E R PE T UA L ‘ LE LO C LE
DATE ’, $27, 4 0 0, C H RO N OG R AP H E ’, C H R O N O G R A PH ’, YAC HT- M ASTE R I I ’, P OW E R M ATI C 8 0’,
BY B R EG U E T $78 70, BY B R E ITLI N G $2075, BY R A DO $5 5, 2 5 0, BY R O LE X $975, BY TI S SOT
Who doesn’t love A very happy 60th The saying goes, people 18kt gold will make Delivers elegance
a screw-locked to this now modern- get green with envy, and it easier to find the and a friendly
crown? Exactly. day explorer. it’s not hard to see why. inner sailor in you. price  tag.

156 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 WATCH TOP PICKS

A huge chance to get

Smart millennials interested in
the industry, or a major
obsessed threat to everything that
makes watches great?
Either way, 2017 is the year
smartwatches became
a legitimate force on
everyone’s mind and
many’s wrist. Here, the
latest pieces to invest in.

STAINLESS STEEL ‘STEEL’

WATCH BY NOKIA AT
HARVEY NORMAN

WATCH
Smart feature Elegant,
clean and with no buttons,
it simply tracks all your
activity with the Nokia
Health Mate app. $229.95

NEWS COULDN’T MAKE IT

TO S W I T Z E R L A N D?
W E H AV E  YO U C OV E R E D.

Deep-sea
STAINLESS STELL
‘TAMBOUR HORIZON
BLACK’ BY LOUIS

diving
VUITTON
Smart feature Its LV city
guides, changing faces
and ability to get you to
the airport on time.
In 1992, a diver from the Compagnie Maritime When it was announced in March that Breitling $4200
d’Expertises, the NASA of underwater engineering, was teaming up with unlikely bedfellow Tudor,
descended to a depth of 701m; a record that stands the rumour mill went into overdrive. Was the
today. It’s considered the maximum depth a human well-backed Rolex sister brand about to make
body can descend before imploding. an audacious bid for the aviation specialist? As
It would, therefore, take a plucky aquanaut it turned out, no. The following month, Breitling
to take Grand Seiko’s first professional diver’s was acquired by private equity giant CVC Capital C LO C K W I S E F R O M
watch much beyond the 600m it is certified to Partners. Nonetheless, the tie-in gave Breitling TO P LE F T:
withstand, for, while the timepiece might survive, access to Tudor’s three-hand ‘MT5612’ movement, STA I N LE S S STE E L
the diver’s organs are less likely to handle the which it houses inside the ‘Superocean Héritage ‘S U PE R O C E A N 4 4
S PEC IA L’, $5 3 0 0,
pressure. It may be a brand debut, but the hobnail II’. As with its forebear, the ‘Superocean Héritage II’
BY B R E ITLI N G;
dial on the ‘Hi-Beat 36000 Professional 600m is available in either 42mm or 46mm, or there’s the TITA N I U M ‘ H I -
Diver’, along with its highly-legible contrasting all-new ‘Superocean 44 Special’ which can dive to B E AT 3 6 0 0 0
bezel and circular hour markers, hark back to a depth of 1000m. PR O F E S S I O N AL
the golden era of dive-watch design. (Take that Elsewhere, in what must be a first for 6 0 0 M D IV E R ’, STAINLESS
as the ’50s and early ’60s.)   watchmaking, Gucci has released a line of diver’s $1 4 ,6 0 0, BY STEEL‘CONNECTED
WORDS: RICHARD BROWN.

Another sub-aquatic Baselworld first came from watches with animals embroidered on their dial. G R A N D S E I KO; DISPLAY’ SMARTWATCH
Bell & Ross, which used the show to announce its Art for art’s sake, the pieces will, nonetheless, STA I N LE S S STE E L BY EMPORIO ARMANI
‘ D IV E ’ WATC H, Smart feature To have
first square-cased diving model. The ‘BR 03-92 descend to 200m and feature a uni-directional
$1 75 0, BY G U CC I; international singing
Diver’ is water resistant to 300 metres, driven bezel, a prerequisite of all dive watches. Choose SATI N - P O LI S H E D
by a self-winding mechanical movement and between a 45mm or 40mm case, or a unisex model sensation Shawn Mendes to
STE E L ‘ B R 03 - 9 2 front the campaign. Also, the
is equipped with a 60-minute calibrated uni- at 38mm, each containing a ‘Swiss-made’ quartz D IV E R ’, $5 4 0 0, various watch faces and
directional rotating bezel. It also has a luminescent movement. G R AN D - S E I KO.CO M; B E LLR OSS .CO M; BY B E LL & R OS S . colour combinations to suit
dot at 12 o’clock for setting time references. B R E ITLI N G .CO M; G U CC I .CO M your personal style. $649

158 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 WATCH

SPORT
STARS
F R O M LE F T:
CERAMIC
‘S E A M ASTE R
P L A N E T O C E AN

OF THE
E TN Z D E E P B L AC K’,
$1 5,075, BY
O M EG A; R OS E

YEAR
G O LD ‘M I LLE
M I G LIA

I
n 1988, Chopard became the official
timekeeper to the Mille Miglia, the
Italian classic car rally held between
Brescia and Rome. The race celebrates
its 90th anniversary this year, a milestone
Chopard honours with the 90-piece
‘Mille Miglia Classic XL 90th Anniversary’.
Equipped with an in-house, COSC-certified
chronograph movement, the 18-carat rose gold
collector’s model is the most prestigious Mille
Miglia Chopard has ever produced.
Out at sea, Omega pulled off one of the
marketing coups of the year in June, when
Emirates Team New Zealand beat Oracle
Team USA, 7-1, to win the 35th America’s Cup.
Omega equipped the crew with a specially
made ‘Speedmaster X-33 Regatta ETNZ’.
Capable of timing the five-minute countdowns
before each race, the quartz timepiece also
features a calendar indication, two alarms and
illustrates the time in three time zones. For
the public, Omega released the mechanical
C L AS S I C XL 9 0 TH
A N N IV E R SA RY’,
$5 6, 41 0, BY
C H O PA R D; CA R B O N
‘ R M 27- 03 ’ WATC H,
‘Seamaster Planet Ocean ETNZ Deep Black’. P OA , BY
It comes with a ceramic bezel, a red and blue R I C HA R D M I LLE .
timing scale, and a black rubber strap.
Of all the iconoclastic watchmakers on the
market today, none is more closely associated
with sport than Richard Mille. Until the brand
proved otherwise, the thought of a mechanical
timepiece surviving the 150+ km/h serve of
a tennis player seemed somewhat preposterous.
Then, in 2010, Richard Mille created a watch
for Rafael Nadal who strapped it to his wrist
and won himself some Grand Slams. Seven
years later, the partnership yields another
timepiece that defies common sense. The
‘RM 27-03’ is capable of withstanding 10,000
Gs of shock thanks to a ‘unibody’ baseplate.
Instead of having a case middle, the watch’s
bezel and caseback are assembled directly onto
a baseplate – a type of racing-car construction
that ensures maximum rigidity and greater
resistance to impacts. chopard.com; omegawatches.
com; richardmille.com

BASELWORLD BY NUMBERS
FUN FACTS

1917 13.3 300

NEW SMARTWATCHES
LAUNCHED BY FOSSIL
6 WEEKS 50 YEAR
PE R C E NT DEC R EASE
GROUP IN 2017 TO SET UP G UAR ANTE E O N TH E
PAN E R AI L AB - I D
LUM I N OR 1 9 50
I N B R AN DS SH OW I N G CAR BOTEC H 3
YEAR OF THE FIRST
60CHF FO R DAYS 4 9 M M

120,000+
BASELWORLD

60
A O N E- DAY TIC KET

3557
8 DAYS 39 APPOINTMENTS
LONG AN N IVE RSARY O F TH E ATTENDED BY GQ
G U ESTS AT TE N DE D
LO N G I N ES FL AGSH I P

32
H E R ITAG E WATC H NUMBER OF PIECES EACH

1300 6.4
OF THE OMEGA TRILOGY

2.23mm 41 – TUDOR’S
TH IC KN ESS OF TH E
BVLGAR I ‘OCTO FI N I SS I MO AVE R AG E KI LOM ETR ES
SAPPHIRES IN NEW BLACK BAY
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S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 159

 WATCH

To the
moon
and
back

P
erpetual calendar watches
predict the future.
Programmed for years to
come, they display the day,
date and month accurately for a
century, taking into account leap
years, without the need for manual correction.
Having developed the first perpetual
calendar wristwatch in 1925, Patek Philippe
has spent the ensuing decades making the
complication its own. Indeed, many of the
most expensive watches ever sold at auction
are Patek Philippe perpetual calendars.
This year’s ‘Ref. 5320G’ is a direct
descendant of the originals – from the
‘19’975’ in 1925 to the ‘Ref. 1518’ and ‘Ref.
1526’ of the early ’40s – with day and month
apertures at 12 o’clock and a moonphase and
date dial at six o’clock. The modern 40mm
white gold iteration has been updated with
a leap year indication between four and five
o’clock, and a day-night indicator between
seven and eight o’clock. A cream lacquer
dial completes the vintage aesthetic.
In 2014, Rolex reintroduced its ‘Cellini’
collection. This year the brand bolsters
the family with a perpetual calendar, a first
since the ’50s. Astronomically accurate for
122 years, the ‘Cellini Moonphase’ features
a blue enamelled disk at six o’clock, on which
the brand has applied a full moon made of
meteorite, which rotates in time with the
lunar cycle. A centre hand with a crescent
moon at its tip points towards a date ring
around the watch’s dial.
Other standout moonphases this
year include Breguet’s supremely
elegant ‘Classique 7787’, now available
in 18-carat white gold, and Glashütte
Original’s ‘Senator Excellence
Perpetual Calendar’, sporting the
brand’s characteristic oversized date
window at four o’clock. patek.com; rolex.com;
breguet.com; glashuette-original.com

FLIGHT PILOT

MODE C LO C K W I S E F R O M TO P:
Anyone with ambitions to be a pilot, Ball’s new ‘Engineer R E D G O LD ‘S E N ATO R
III Bronze Star’ will garner kudos in the cockpit. E XC E LLE N C E P E R PE T UA L
Everyone else happy just to feign pilot status through CA LE N DA R ’, $4 9, 3 0 0,
what’s strapped to their wrist, this piece is for you BY G L AS H Ü T TE O R I G I N A L;
too. Limited to 3000 pieces, the 43mm bronze case E V E R OS E G O LD ‘C E LLI N I
M O O N PH AS E ’, $3 3,9 0 0, BY
eludes manliness, houses its own automatic caliber
R O LE X; G O LD ‘C L AS S I Q U E
‘RR1102’ while the numeral hour markers and seconds 7 78 7 ’, $3 8, 20 0, BY
hand illuminate without contact from any light. Plus, its B R EG U E T; W H ITE G O LD
SpringLOCK and Amortiser anti-shock systems help ‘ R E F. 5 3 20 G’, $1 07, 6 0 0,
provide accurate timekeeping for anyone actually BY PATE K PH I LI PPE AT
realising said pilot dreams. $3595; ballwatch.com K E N N E DY B O UTI Q U E .
 WATCH
MB&F’S SHAPES

MAD MAD C LO C K W I S E
F R O M TO P:

WORLD
STA I N LE SS
STE E L ‘CA PE
CO D’, $41 3 0, BY
H E R M È S; LI M ITE D
E D ITI O N R OS E G O LD
MB&F’s creations seldom sit within one product category. ‘G O LD E N B R I DG E ’,
While most of the brand’s crackpot contractions do indeed $1 0 4,0 0 0,
BY CO R U M;
tell the time, they do so in such inventive and intricate ways
STA I N LE S S STE E L
that to categorise them merely as timepieces would be to ‘S1/0 1 ’, $1 8 70,
do a disservice to company founder, Maximilian Büsser BY S E V E N F R I DAY.
(formerly of Jaeger-LeCoultre and Harry Winston). Büsser
doesn’t create watches; he conceives machines.
Having teamed up with high-end clock maker L’Epée
1839 five times previously, this year the partnership
yields ‘Destination Moon’: a 41cm-tall, torpedo-shaped
table clock. Power for ‘Destination Moon’ is provided
by an oversized winding crown at the rocket’s base.
A vertically stacked movement, regulated by a lateral
balance wheel and escapement, displays hours and
minutes on two revolving stainless steel discs near the
rocket’s nose. ‘Destination Moon’ is available with silver,
black, blue or green landing pods, all of which come with
Neil, the rocket’s solid-silver-and-stainless-steel resident
astronaut. ‘Destination Moon’, approx. $25,800; mbandf.com

SQUARE Square watches don’t sell. So the saying goes.

Unless, of course, you hit upon a quadrilateral

ROOTS
design that does resonate with watch fans, in
which case, history tells us, you’ve almost certainly
created a brand-defining timepiece. Cartier’s
‘Tank’ dates all the way back to 1917. TAG Heuer’s
‘Monaco’ arrived in 1969, while Bell & Ross’s more
recent ‘BR 01’ debuted in 2005. Each has become a
halo product for its brand. Another famous square-
case is the Hermès ‘Cape Cod’. Landing in 1991, it
takes design cues from the chain of a ship’s anchor.
For 2017, Hermès introduced four iterations of
the ‘Cape Cod TGM’, which, at 33mm by 33mm, is
the largest ‘Cape Cod’ model. Of the newbies, three
pieces are quartz, the fourth is powered by the
self-winding calibre ‘H1912’, created in partnership
with movement maker Vaucher, which counts
Parmigiani Fleurier and Richard Mille among its
other clients. The ‘Cape Cod TGM Manufacture’
is characterised by a hobnailed inner square on
its dial, a feature absent from the quartz models.
Baguette-shaped, Corum’s ‘Golden Bridge’ is
where the brand declares it’s technical prowess –
literally, given that the collection is skeletonised.
Spearheaded by ex-managing director of
Chopard Italy, Davide Traxler, between 2015 and
May 2017, Corum is a brand whose stock has
been on the rise. At Baselworld 2017, the brand
presented the ‘Golden Bridge Rectangle’, in
which a linear gear train links a spring barrel at six
o’clock and an escapement at 12 o’clock. The case
and plates comprise 18kt rose gold, making for
a sophisticated, statement-making dress watch.
And SEVENFRIDAY is another brand tapping
into the cult status of the square piece. The hybrid
‘S1/01’ pairs a Japanese mechanical movement
from Miyota with a NFC chip that connects to the
SEVENFRIDAY Android App. A fittingly fun piece
from a brand for whom every day is a Friday.
hermes.com; corum.ch; sevenfriday.com

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 61
 WATCH
VINTAGE
APPEAL
FAC E D W I T H T U R B U L E N T T I M E S,
WATC H M A K E R S A R E R E V I S I T I N G
T H E I R B AC K CATA LO G U E S A N D
R E- I S S U I N G S T E A DY C L AS S I C S .
F
or the first time in almost
two-and-a-half years, the
Swiss watch industry posted
positive month-on-month
results in both March and May
of this year. Headwinds may
be abating, but a tough economic climate
means that this year the watch world has
been characterised by a raft of reissues from
the golden era of watch design. Leading the
way was Omega, which updated a trio of its
most recognisable timepieces, releasing them
as the ‘1957 Trilogy Collection’.
Sixty years ago, Omega debuted three
industry-changing tool watches. This year,
the ‘Speedmaster’ returns in a 38.6mm case,
while the ‘Railmaster’ and ‘Seamaster 300’
have been updated with Omega’s ‘Master
Chronometer’ movement, a calibre capable
of withstanding 15,000 gauss of magnetism.
Only 3557 of each will be made available.
1 62 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
OLD SCHOOL
C LOC K W I S E F R O M TO P
Stainless steel ‘Heritage 1945’, $2350, by
Longines; stainless steel ‘Speedmaster’,
$9725, stainless steel ‘Seamaster 300’, $9425,
stainless steel ‘Railmaster’, $9125, all by
Omega; sapphire ‘Tribute To Fifty Fathoms
MIL-SPEC’, $17,650, by Blancpain.
The original Blancpain ‘Fifty Fathoms’
arrived four years before the Omega
‘Seamaster’, becoming the world’s first
bona fide, series-produced dive watch. In B OT TO M LE F T TO R I G HT
1957, the ‘Fifty Fathoms MIL-SPEC 1’ Stainless steel ‘Chronomaster
Heritage 146’, $9900, by Zenith;
incorporated a circular water-tightness stainless steel ‘SBGM221’, $6800,
by Grand Seiko.
indicator at six o’clock that would turn from
white to red should water penetrate the case.
The indicator returns in 2017, along with
a bezel covered in scratch-resistant sapphire.
Other notable retro revivals include
Zenith’s ‘Chronomaster Heritage 146’,
a chronograph from the ’60s that’s now
equipped with Zenith’s legendary ‘El
Primero’ movement; Grand Seiko’s
ultra-accurate micro-electro-mechanical
‘SBGM221’; and Longines’ ‘Heritage 1945’,
an elegant, time-only automatic with a steel
case and brushed copper dial.
omegawatches.com; blancpain.com; zenith-
watches.com; grand-seiko.com; longines.com

MARQUES OF DISTINCTION
T H O R O U G H B R E D WATC H E S T H AT W O N ’ T B R E A K T H E B A N K .
FIBERGLASS ‘SEASTRONG
HOROLOGICAL’ SMARTWATCH
BY ALPINA
This piece makes a strong
case for being the best-
looking connected watch yet,
despite, or perhaps in spite of
the fact, it’s not immediately
recognisable as a smartwatch.
With a 60-minute uni-
directional bezel, super
legible dial, and luminous
hands, indexes and markers,
it’s, first and foremost,
a proper diver’s watch. Yet
while the sixties-inspired
piece comfortably descends
to 100 metres, it’s also capable
of receiving call and email
notifications, tracking your
activity throughout the day,
monitoring sleep patterns and
automatically updating the
time and date. A smartwatch
whose face, at least, is proven
to stand the test of time.
$995; alpinawatches.com
WATCH
C LOC K W I S E
F R O M TO P LE F T
Jasmine Sanders
and Caroline
Vreeland; Bulgari’s
Jean-Christopher
Babin and Jon
Kortajarena;
Jean-Claude
Biver; Depeche
Mode at the
Hublot dinner.
BASEL’S
PARTY
PEOPLE
Baselworld 2017 took place against
a backdrop of almost two-and-a-half years
of slumping Swiss watch exports. Not that
you would have guessed from the pomp and
ceremony that unfurled with the world’s
largest watch fair. Bulgari hosted a celeb-
packed launch party on the first day while
Hublot invited 800 guests to a gala dinner
that saw Depeche Mode perform a private
concert in celebration of Ferrari’s 70th
birthday. And last but not least, Breitling
whisked buyers, press and friends to an
airport hangar for a Spanish fiesta, preceded
by an aerobatic display in which a helicopter
gave chase to a fleet of Lamborghinis.
Though, such is its reputation, absolutely
no photography was allowed.
An industry in crisis? You’d never have
guessed – the place was as bonkers as ever.
ROSE GOLD-PLATED STAINLESS STEEL
STAINLESS STEEL ‘MASTERPIECE
‘FLYBACK CHRONOGRAPH CHRONOGRAPH SKELETON’
MANUFACTURE’ BY BY MAURICE LACROIX
FRÉDÉRIQUE CONSTANT Opt for a mechanical timepiece
Named to evoke the old over a watch powered by
guard of Swiss watchmaking, a battery and it stands to
Frédérique Constant was reason that you might like
in fact only formed in 1988. to view the cogs and gears
Three decades later, the for which you’ve just paid
brand remains true to the spirit a premium. Thus the raison
in which it was established, d’être for skeleton watches.
manufacturing mechanically The trouble is, openwork
sound timepieces at value timepieces are far less elegant
-for-money prices, like when all they do is magnify
the ‘Flyback Chronograph the unsightly hairs on the
Manufacture’. You can wrist beneath. With the 45mm,
restart it without stopping manually-wound, super-
and resetting, which is contemporary ‘Masterpiece
useful for timing laps. And Chronograph Skeleton’,
though it’s one of the most Maurice Lacroix addresses this
difficult complications issue by partially tinting the
for a brand to develop in- watch’s sapphire crystal-case
house, after six years of back. For 2017, Maurice Lacroix
R&D, Frédérique Constant has sandblasted the piece with
has done just that. POA; a black-PVD coating. Stealthy.
frederiqueconstant.com POA; mauricelacroix.com
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 163
 Audemars Piguet does
ART BASEL
A R T, D E S I G N A N D W E L L- C R A F T E D T I M E P I E C E S H AV E
S
A LOT I N C O M M O N FO R T H E FA M E D WATC H M A K E R .
ome things are under your
eyes every day,” says Olivier
Audemars. “But it can take an
artist with a fresh perspective
to help you see what was in
front of you all along.”
The small Swiss village of Le Brassus
in the Vallée de Joux has been home to
Audemars Piguet – one of the most
celebrated and revered mechanical
watchmakers – since 1875.
The brand’s relationship with time and
nature is deeply rooted within this
mountainside idyll. Since 2012, this bond has
been the focus of a series of art commissions
– AP invites visual artists, architects and
filmmakers to visit its home to explore the
patterns found within its landscape.
Only a few hours’ drive away, at the annual
Art Basel exhibition (of which AP is
a partner), Olivier Audemars is
enthusiastically introducing his latest
164 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
WORDS: TIMOTHY-ANSCOMBE-BELL.
collaborations. As the great-grandson of around Le Brassus were used by the famous
the company’s co-founder, and a long- violin maker Stradivarius for his
standing board member, Audemars is instruments,” explains Errazuriz. “After
profoundly attached to Le Brassus, and careful cultivation and preservation for
has been instrumental in the brand’s swing generations, one in 10,000 trees were
towards the arts. considered to hold the right qualities to be
Along with its sister events in Miami and turned into one of his masterpieces.”
Hong Kong, Art Basel is the largest and most
important contemporary art fair of its kind
and this year AP is presenting a new
Collector’s Lounge created by Chilean artist
and designer Sebastian Errazuriz.
Having created a space reflecting the
forests native to the Vallée de Joux,
the centrepiece for Errazuriz’s booth is
an intricately sculpted tree, made from wood,
but carved by robotic arms. Entitled ‘Second
Nature’, the piece is designed to evolve and
grow with the seasons. For Art Basel in Basel,
the tree’s bare branches have buds, whilst in
Miami in December, flowers will be added.
“Trees in the ancient primary forest
 WATCH
C LOC K W I S E , F R O M
FA R LE F T: Sebastian
Errazuriz’s ‘Second
Nature’; Errazuriz
overseeing the carving
of the wood; the intricate
The aim is to express that the tree must be work that goes into
an Audemars Piguet
transformed by man to reach its long-term piece; Audemars Piguet,
potential. “There is also the resounding perpetual calendar
wristwatch with
notion of responsibility and stewardship that leap-year display
we have to our environment,” he adds. - a world’s first, made in
1955; a still from Cheng
Another collaborator is Chinese artist Ran’s ‘Circadian Rhythm’.
Cheng Ran, whose video installation, entitled
‘Circadian Rhythm’, depicts the powerful
and ever-changing natural patterns found in
the Swiss mountains, mixed over a pulsating
soundscape. Changing tempo in response
to imagery shot at different times of day, the
work replicates the beats of nature overlaid
with those of a mechanical watch, with the
two eventually meeting in unison.
Looking ahead to Art Basel Miami Beach
in December, the brand will showcase a new
large-scale work by Lars Jan, an American
artist and activist based in Los Angeles. His
installation will be centred on man’s
relationship with time and nature, while
promising to be highly experiential,
integrating emerging technologies.
A little closer to home, Danish architect
Bjarke Ingels has been commissioned to
expand the watchmaker’s original 1875
headquarters in Le Brassus, by adding a
spiralling museum that coils majestically up
from the landscape. Dubbed Maison des
Fondateurs (Home of the Founders), the
building comprises a spiral-shaped pavilion
that is partially sunk into the fields behind
the existing workshops, revealing a series of
glazed galleries and event spaces.
The result of an architectural competition underway, with an opening expected in 2019.
to create not just a sensitive addition to AP’s It’s clear the soul of the company sits firmly
historic facilities, but also to the local in the Vallée de Joux. But for Audemars
landscape, construction is currently Piguet, it seems the involvement with art
stems from a practical desire to discover
something new about their hometown, and
about themselves.
For Olivier Audemars, the way that people “WE AREN’T HERE
from different cultures and backgrounds
perceive Le Brassus can be seen through TO COLLECT ART –
the brand’s choice of collaborators. Indeed,
it’s a novel way for an independent company WE’RE HERE TO
LEARN AND BE
located in a remote Swiss valley to maintain
such a deep understanding of the parts of the

TRANSFORMED BY IT.”
world in which it is involved.
“It’s a great inspiration to work with
international artists who understand our core
values and are able to creatively translate
them through their own point of view,” says
Audemars. “We aren’t here to collect art –
we’re here to learn and be transformed by it.” n
audemarspiguet.com; artbasel.com

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 165

 WATCH

CLOCKWISE FROM
TOP LEFT: Artist
Vincent Fantauzzo
and Rolex-Tudor
General Manager,
Australia Patrick
Boutellier; guests
enjoying dinner
at Franklin; selection
of 2017 pieces;
MONA curator
Jarrod Rawlins
with Patrick
Boutellier; GQ’s
Richard Clune with
Sam van der Griend.

TUDOR V DARK MOFO

O OUR
f late, new collection While new Tudor ambassador David
showcases have too often Beckham wasn’t present, local brand

PICK
meant evening affairs that champions, such as acclaimed artist and
involve boarding boats. former GQ Men of the Year winner
So many boats. Vincent Fantauzzo, helped heighten the Of the 2017 pieces,
But in living up to its evening. Fantauzzo was joined by MONA the latest addition
new tagline #borntodare, Rolex’s little curator Jarrod Rawlins, who then led those to the ‘Black Bay’
family, the neatly titled
brother, Tudor, recently upped the ante gathered on an unforgettable night, ‘Heritage Black Bay
with a celebration of its 2017 pieces featuring showcasing the festival’s ‘Welcome Stranger’ Chrono’ is a firm
event, a staggered, progressive evening that standout. Clean,
a night of fun and artsy curiosity in close uncompromised and
collaboration with famed Tasmanian festival brought together a wealth of varied and surprising in that the
Dark Mofo – put on by the genius types unique experiences. 41mm chronograph
melds a sense of the
responsible for MONA. Of those, we learnt a lot about Royal historic with a little
Forget hours of watch talk and instead Tennis, nattered about trees to the man something very much
envisage a lavish private dinner at the sleek behind MONA, David Walsh, experienced of the now; a piece
that can easily do
Hobart restaurant Franklin – under the the work of Melbourne artist Spike Fuck triple duty and is sure
wonderful stewardship of David Moyle – and before nodding approval to the glam punk to become a firm
of sparkly, rock goddesses Bitch Diesel favourite for any
an opportunity to get up close with the new collector. Features
pieces. Nothing here was forced – though we (seriously, check these ladies out). a ‘Manufacture Calibre
did continue to appreciate the incredible It was all rather unwatch like – driving MT5813’, column
wheel and vertical
value Tudor delivers, a brand that truly home that Tudor’s certainly willing to dare. clutch. $6070;
punches well above its pricing. And that’s a damn good thing. tudorwatch.com

166 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

Made by hand for those who value perfection.
Observe the glide motion second hand of a Spring Drive watch. It is
unique, a precise expression of how time naturally flows. Our master
watchmakers create these mainspring-powered timepieces by hand.
They are accurate to within one second per day. Across the immaculately
polished surfaces of the dial courses an intricate play of light and
shadow that speaks of the subtle aesthetics of Japanese craftsmanship.
Dedication to perfection pursued for more than half a century.
grand-seiko.com

9R65 Spring Drive

Accurate to + / - 1 second per day.
 WATCH
FROM THE OLD
TO THE NEW
F
FA M O U S FO R I T S VA R I O U S AS S O C I AT I O N S W I T H R AC I N G CA R S,
TAG H E U E R I S H E L P I N G D R I V E T H E WATC H I N D U S T RY I N TO T H E F U T U R E .
or many a mechanical watch
buff, the name Heuer conjures
up a bygone era rich in
adventure. The brand’s iconic
racing watches were designed
with the fastest, smartest and
bravest racing drivers in mind, and were
duly worn by many of the great grand prix
champions of the ’60s and ’70s.
Over the years, the watchmaker has
undergone a series of transformations;
bringing on the TAG name in 1985, and
moving under the LVMH umbrella in
1999. But the motor-racing spirit has
remained at the throbbing heart of the
company throughout.
Today, with Jean-Claude Biver in the
driving seat, TAG is at the forefront
of horological innovation, producing
compelling sports watches with modular
case constructions, connected functionalities
and enough vintage panache and slick good
168 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
looks to satisfy traditionalists, while capturing
the attention of a new generation of fans.
Get connected
We all get the wanderlust from time to
time, and whether you’re feeding the itch
with a trip to some exotic corner of the globe,
or paddling out to a newly discovered point
break, the ‘Connected Modular 45’ may
quickly become your best friend.
Developed in collaboration with Intel,
the watch is water resistant to 50m, has
a functioning GPS, an NFC payment sensor
and is built to take a beating. It’s the brand’s
first ‘Swiss-made’ smartwatch – elegant
and connected at the same time. TAG uses
a modular concept to eliminate the issue of
obsolescence that plagues connected watches
(this means it’s also fully customisable).
On the charm offensive
It’s fair to say we’re a nation with sport on
‘AUTAVIA REF.
2446 MARK 3’
the brain. This may be why the traditional
racing chrono has always found a captive
audience among Aussies. And as far as iconic
chronographs go, the ‘Autavia’ is in a league
of its own.
Made famous by the potently charming,
impeccably stylish jet-set-era gents of motor
racing, the ‘Autavia Ref. 2446 Mark 3’
captures the style of the ’60s. Chosen for
revival following an online poll (dubbed the
Autavia Cup), where members of the public
voted for their favorite of 16 historic options,
WORDS: TIMOTHY ANSCOMBE-BELL.
TAG’s 2017 launch with its ‘Mark 3’ dial and
42mm case is set to become the star of the
show once again.
Maketh a man
Sometimes subtlety is overrated. Sometimes
big and brash wins. Packing a punch like Tom
Brady’s right arm – and coincidentally being
the star quarterback’s favourite timepiece
– the ‘Carrera Heuer-01’ oozes testosterone-
 THE
BREAKDOWN
‘CONNECTED MODULAR 45
KINGSMAN SPECIAL EDITION’
Who it suits
The modern man of mystery.
Best talking point Specially
selected by Kingsman director
Matthew Vaughn, who sought
a watch that could withstand
tough environments.
Secret weapon At 10:10, the dial
vibrates for 10 seconds and the
film’s K-shaped logo appears.
Price approx. $5000

‘AUTAVIA REF. 2446 MARK 3’

Who it suits
The consummate gent.
Best talking point With its
reverse-panda ‘Mark Three’
dial, it’s a faithful remake of the
original 1966 ‘Autavia’, as made
famous by Formula One legend,
Jochen Rindt.
Secret weapon The vintage
Heuer and Autavia logos at 12
‘MONACO 1133B’ o’clock. Just awesome.
Price $6600

SOMETIMES SUBTLETY
‘CARRERA HEUER-01 43MM’
Who it suits The anti-wallflower.
Best talking point The polished

IS OVERRATED. SOMETIMES
ceramic tachymeter bezel and
modern 12-part modular case
fueled charm and is a watch to suit anyone offers a stark (but undeniably

BIG AND BRASH WINS...

with a healthy dose of petrol in their veins. cool) reinterpretation of Heuer’s
With its skeletonised manufacture original racing chronograph.
Secret weapon The

THE ‘CARRERA HEUER-01’

movement, stripped-back dial and 12-part skeletonised ‘Heuer 01’ caliber,
43mm modular case, the ‘Heuer-01’ is visible through the dial.
Price $6850

OOZES TESTOSTERONE-
a huge departure from the Carrera’s origins
as a traditional racing watch. But under ‘MONACO 1133B’
the sapphire crystal, the piece beats to the Who it suits The retro radical.
same drum as its predecessors. A polished
ceramic tachymeter bezel, red accents and
chronograph hands and a winding rotor
FUELED CHARM. Best talking point It’s one of
the most recognisable watches
of the 20th century.
Secret weapon Its heritage;
shaped like a steering wheel are just some it was one of the first ever
wristwatchs with a self-winding
of the references which draw on TAG’s chronograph.
motorsport DNA. Touchdown. Price From $10,000

The race is on ‘CONNECTED MODULAR 45

In the ’70s film Le Mans, Steve McQueen ‘CARRERA HEUER-01 ’ KINGSMAN SPECIAL EDITION’
wore an Heuer crest on his racing suit and
a square-dial ‘Heuer Monaco’ on his wrist,
catapulting the watch into superstardom.
The blue-faced watch and the blue-eyed
actor have been linked ever since.
King-of-cool credentials aside, vintage
Heuer is such a hot category right now that
Phillips international auction house are
hosting a thematic sale entirely dedicated
to the brand’s classic pieces in November.
PHOTOGRAPHY: GETTY IMAGES.

The ‘Monaco 1133B’ with its square case

was a benchmark design at the time, but as
one of the first ever wristwatchs with a self-
winding chronograph, it’s also mechanically
important. If you come across one of these
in good condition, bite the Bullitt. You
wouldn’t go far wrong. Not least if you
settle for the updated ‘Monaco Calibre 12
Automatic Chronograph’. n
 WATCH

HUBLOT
LOVES
CRICKET
T
C LO C K W I S E F R O M AB OV E
Titanium ‘Classic Fusion
Aerofusion Chronograph’,
$19,400, by Hublot; Hublot CEO,
hough the Ashes build-up may not Ricardo Guadalupe; Hublot
be going to plan, globally, cricket is SPORT ambassador Michael Clarke.
in great shape. Luxury watch brand
Hublot certainly agrees, extending
its partnership with the International MC: Yeah, I think it’s
Cricket Council (ICC) as official a no-brainer and I think
timekeeper to include the Champions Trophy as well Hublot see it like that as
as the Women’s World Cup. We caught up with Hublot well. Credit to them, I think
ambassador and cricket legend, Michael Clarke, to talk it’s exactly where sport in
about why the partnership spells good news for both. general needs to be. I can't
wait till it gets to a stage
GQ: Why is Hublot such they’ve got Pele? Usain where we don’t separate
a good fit for you? Bolt? These guys are the women’s cricket, men’s
Michael Clarke: There’s best in the business. I think cricket. We say cricket
a lot of similarities with it’s extremely exciting that and we mean both. That's
everything I try to do Hublot see cricket in that exactly what Hublot are
with my cricket - it’s same light. It’s also a doing here. They’re saying
no different now to my compliment to where the it’s no different to us. We’re
business. You want to be game’s at now. Hublot sponsoring the ICC cricket
as good as you possibly would not be associating full stop and I think that’s
can. You get out of bed themselves with a sport exactly where we want our
every day to try to become that they felt wasn't game to be.
better. The same applies continuing to grow. GQ: Lastly, a word on

“THIS ICONIC SPORT

with Hublot - they want
to be the first to achieve
things. They are unique
already. In their style and
the quality of their watch
or their brand. And I think
they are very different to
everything else you see in
the market and, like me,
they like the challenges
of chasing success.
GQ: And what does that
I remember the 2015
World Cup looking up at
the scoreboard and seeing
that big Hublot sign and
that clock and I just think
it’s a real compliment to
the game of cricket.
GQ: Tell us about your
relationship with watches.
MC: I wear my ‘Big Bang
Unico Black Magic’ the
most. Guys only really have
what’s been happening
with Cricket Australia
this year?
MC: Yeah, look it’s
not good for the game. WILL ROUND OFF OUR
MARKETING PRESENCE.
I said openly that
I’d like to see these
conversations happen
in private. There needs
to be compromise WORKING WITH
AMBASSADORS LIKE
from both parties but
until they can get
PHOTOGRAPHY: GETTY IMAGES.

mean for cricket?
MC: It shows cricket’s in
a wonderful place. We’re
talking about a brand that
is associated with some of
the best sporting teams
and associations in the
world. You think about
Ferrari. You think about
FIFA World Cup. You know
watches and cars as show
pieces, and that’s why
so many men love their
watches – it’s our show
piece, it’s our style. And
what I like especially about
Hublot is the variety.
GQ: It’s great that Hublot’s
partnership has extended
to the women’s game too.
MICHAEL CLARKE, I AM
there I don’t want to
see cricket lose out...
I don’t want to see
the Australian players
not focus on their DELIGHTED HUBLOT IS THE
ICC OFFICIAL TIMEKEEPER.”
preparation and
training. Hopefully,
everything sorts
itself out. R ICAR DO G UADALU PE, C EO H U B LOT
H U B LOT.CO M

170 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 A DV E R T I S E M E N T

Art and TV come together. Samsung’s The Frame brings

elegance and entertainment to your home in 4K UHD.
 TV IMAGES SUPPLIED BY ©UNIVERSAL SONY PICTURES HOME ENTERTAINMENT AUSTRALIA PTY LTD, ALL RIGHTS RESERVED. PROGRAMS AVAILABLE ON DVD AND DIGITAL
The Frame is a television
to mirror a modern piece
of art in every detail.

CUSTOMISABLE FRAME
Magnetically attachable television frames
in three colour options (walnut, beige
wood or white – purchased separately)
enable The Frame to match your decor.

The Frame by Samsung – the ultimate piece of customisable art

The Frame can display either your own choice of photos or artworks, or a piece from the Samsung Collection — a thoughtfully curated
collection of 100 works of art, representing 37 artists, including Australian Sarrita King, Koo Bohnchang of South Korea and Japan’s Yoshi
Sodeoka, across genres from photography to illustration to digital art. You can also visit the online Art Store to either purchase individual
works, or pay a monthly subscription to access the entire ever-changing collection of more than 300 images.
 A DV E R T I S E M E N T

The Frame provides the perfect

television-cabling solution for
an uncluttered, elegant aesthetic.

DISCREET WIRING
Cable clutter is reduced thanks to the
transparent 1.8mm-thick optical cable
and the out-of-sight One Connect
external interface device.
 The Frame adjusts its
brightness and colour based
on ambient light levels.

MOTION SENSOR
When in Art Mode, The Frame detects
when you’ve left the room and turns
off the television to save power, then
switches back on again when you return.
 A DV E R T I S E M E N T

TV in a new frame of mind

CLEAN LINES, SEAMLESS DESIGN
The Frame blends harmoniously into your home,
transforming into exquisite framed fine art or photography
when its primary television function is dormant. Featuring
classic, clean lines, a choice of frames (in walnut, beige
wood or white) and discreet connection cables and
speakers, The Frame’s versatile “Art Mode” is elegantly
realised for inconspicuous style.

SUPER-SMART FEATURES
Motion sensors enable The Frame to detect when the
room is unoccupied and switch itself off to save power,
while light sensors discern the room’s ambient light in
order to automatically adjust the onscreen colour and
brightness for optimal visibility. The Smart Hub enables
television connectivity from your phone, your set-top box
or games console for easy access to apps and services.

To find out what’s happening at your local Harvey Norman®, contact your store directly.
Harvey Norman® stores are operated by independent franchisees. Not available at all stores. Ends 26/10/17.
Cotton shirt, $119,
by Ben Sherman; wool/
cashmere pants, $650, by
Brooks Brothers; stainless
steel ‘Octo Roma’ watch,
$8250, by Bulgari.
 WATCH

A
P H OTO G R A P H Y SASKIA W I LSON

MATTER S T Y L I N G OLIVIA HAR DI NG

OF
TIME

Cotton/cashmere shirt, approx. $520, by Emma Willis; gold ‘Octo Roma’ Cotton shirt, $99, by Jack London; stainless steel ‘Octo Roma’ watch, $9050, by Bulgari.
watch, $26,100, by Bulgari.

P R E S E N T I N G O U R FAVO U R I T E P I E C E S F R O M
BV LG A R I ’ S B AS E LW O R L D 2 0 1 7 C O L L E C T I O N .

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 17 7
 WATCH

Cotton shirt, approx. $400, by Emma Willis; stainless steel Cotton shirt, $99, by Jack London; wool pants, POA, by Dunhill at Harrolds;
‘Octo Roma’ watch, $8250, by Bulgari. stainless steel/gold ‘Octo Roma’ watch, $9900, by Bulgari.

178 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

Cotton/linen shirt,
$228, by Paul Smith;
wool pants, $1835,
by Ermenegildo
Zegna; titanium
‘Octo Finissimo’,
$19,250, by Bulgari.

Talent: Luca at
Kult Australia
Grooming: Joel Phillips
at Viviens Creative
using O&M hair and
MAC cosmetics

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 179

 WATCH
1
F LI G HT FAC I LITI E S’
H U G O G R U Z M AN
A N D J I M MY LYE LL ,
E LEC TR O N I C PR O D U C E R S
VISIONARY T
STATUS
G Q T E A M S U P W I T H SY D N E Y-
B AS E D N G O I - M A N I F E S T TO
U N E A R T H T H E R O OT S O F
C R E AT I V I T Y T H AT D R I V E T H I S
T R I O O F I N D U S T RY L E A D E R S .
O N TH E W R I ST: F R O M LE F T
Hugo wears ‘Freelancer Chronograph
Automatic’, $4999; Jimmy wears ‘Freelancer
Calibre RW1212’ with black dial, $2950; Roger
wears ‘Freelancer Calibre RW1212’ with silver dial,
$2850; Maurice wears ‘Freelancer Chronograph
Automatic’ with red and black strap, $3895,
all by Raymond Weil.
1 80 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
here’s something in every one of us that
GUY AUSTRALIA . 1ST ASSISTANT: RYAN STAMATIADES. DIGITAL OPERATOR: RYAN JAMES KENNY.
PHOTOGRAPHY: ALINA G’OZINA . STYLING: MICHAEL AZZOLLINI. HAIR: A ARRON BAKER AT TONI &
strives to be a visionary, ‘a person with
original ideas about what the future will or
could be like’. In whatever field it is we work,
most possess the belief that the capacity is
there, somewhere – waiting to be fulfilled.
Joanna Pretyman is one of those people. She’s the
founder of I-Manifest, a non-governmental, not-for-profit
organisation that uses creativity to empower youth to find
their passion and live their purpose. And with the help of
GQ, I-Manifest has profiled some of Sydney’s most
successful modern-day talents, from the Flight Facilities
guys who are heading towards the peak of their careers, to
the more established and seasoned wise men in tailor Roger
Shamoun and restaurateur Maurice Terzini. The aim – to
help inspire the young, the visionaries of tomorrow, with
Pretyman adding, “I selected these men as our visionaries
because to me they embody the energy of what I-Manifest
is teaching our youth. That is, to live your passion, your
truth. To be brave and take risks. To keep going even in the
face of adversity. To value family, whatever that looks like
for you. To draw on your heritage and write your own script
to this life. And to believe in yourself no matter what. We
were honoured to bring this campaign to life for Raymond
Weil as a brand who also upholds these values of family,
heritage, craftsmanship with integrity.”
i-manifest.org; raymond-weil.com

1 How much can family heritage
A lively duo with an innate ability to
embrace life through live music and
experiences, Hugo and Jimmy are
one of Australia’s greatest global
exports in the music world. Hits like
‘Crave You’ have brought them
success. Their secret? To pursue
their passion while still maintaining
their own individuality.
The best thing about your
profession and lifestyle?
The best things can also be
considered the worst. We get to go
to some amazing destinations on
the other side of the world and play
to a whole bunch of excited
strangers, who have somehow
discovered our music.
What is the most important
characteristic to fuelling
creativity?
Staying busy. It’s as simple as that.
No matter where you go, it’s easy to
be exposed to music, so sometimes
these chance encounters with
a new song, or a reminder of an old
one, can be an inspiration to create
something new.
Why is having fun and enjoying
yourself often seen as frivolous?
Because people rarely make a living
from having fun. So the assumption
is that you’re wasting your time.
John Lennon tackled that issue
best: “Time you enjoyed wasting,
isn’t wasted time”. You have to
avoid being too held down by guilt,
as we’ve found sometimes forcing
the creativity can stunt it.
Describe a visionary.
They’re the trailblazers, the ones
not content in following the crowd,
and more willing to express
themselves either in their actions,
or speaking our about how they
believe things should be.
Who is a living visionary?
Daft Punk. Every album they’ve
released has predated the change
in sound by four years or more. You
could go as far back as their debut
album Homework and see that some
of the music then is just as relevant
now as it was then.
2
A self-taught tailor, Shamoun has
a penchant for risk-taking and big
dreams. He’s made a business from
pulling apart the tailoring rulebook
and recreating his own styles.
and legacy help in becoming
a visionary?
Heritage and legacy lay the
foundation. It doesn’t necessarily
correlate to a vision. Believing in
yourself and rolling up your sleeves
are the greatest assets – anyone
can attain them.
How important is taking risks?
Crossing the road during peak hour
traffic and crossing that same road
during the quietest time of the day,
are totally different risks. Even
though you’re still crossing the
road, it’s the process and thought
that changes the dynamic. Being
prepared, developing experience,
sharpening your skillset, thinking
things through are all rational
processes that work to minimise
risk, but your gut is the ultimate
test. Never question your gut.
What inspires creativity in
someone, or is it innate?
I believe it all starts in the home.
Parents are the largest contributor
to the murder of a child’s creative
inhibitions. The word ‘no’ is thrown
around without much thought
of its consequence. I believe
everyone is creative, it’s
only the fear that suppresses
a person from expressing it.
There’s a fine line between
confidence and delusion.  Describe a visionary.
What does a well-tailored suit say
about a man?
In today’s day and age, it says
a lot. In a time where everything’s
so fast and distraction is so
prevalent, making the time to
learn about the craft and invest
the money, speaks volumes.
Describe a visionary.
A visionary sees the future
no matter how the
present may seem.
A visionary creates
from inspiration,
from feeling from
the gut. A visionary
stands alone, with
an army as his
shadow... fearless.
Who is a living
visionary? 
Fernando Botero.
I first saw his work
when I was 14 and
he changed my
perspective on
everything.
I contribute a lot
of my creativity
and out-of-the-
box thinking to him.
WATCH
3 FIND THE
FREELANCER
A simple but refined tastemaker and IN YOU
a man who sees things holistically, With a slant to the arts and
Terzini is a loving father and owner music, Raymond Weil is
of some of Sydney’s most iconic a Swiss luxury watch
dining spots. He’s also a creator brand that embraces
creativity more literally
of aspirational clothing, his fashion that most in its industry.
label 10 Pieces showing as it did And the ‘Freelancer
at Pitti Uomo this year. Calibre RW1212’ is no
If you had one bit of advice to impart exception – coming as it
does in several versions.
on the next generation of designers, Our favourite, this black
what would it be? dial teamed with a 42.5mm
Well, since I never really studied steel case and bracelet.
design, and it’s really just been CEO, Elie Bernheim, says
of the piece containing its
by default and determination first in-house movement:
to achieve something outside of “It’s a tribute to the
my field of expertise, the advice present and a symbol
I would give is if truly believe you of the future. Its name
picks up the digits of our
can achieve, design, create don’t address in Switzerland,
ever give up. 1212, standing for
What is your most important trait? the Geneva suburb
Hard work, but probably more Grand-Lancy. It
symbolises the path we’ve
important than that these days is travelled to date and the
the ability to select the right team free-spirited approach we
around me that can inspire me and bring to watchmaking.”
remind me you never stop learning. Fit for a visionary,
one might say.
How can you inspire through $2950;
clothes and material values? RAYMOND-WEIL.COM
I find beautifully designed clothes
inspiring... they are you, you are
them – you wear them, they become
part of your personality... it’s the
people that are inspiring. 
Someone that creates beauty
that affects others, or work that
makes people sit up and take
notice; someone with a voice, it
can be in any field from politics
to art; someone that lives their
life to the fullest; someone who
leaves a legacy. n
For exclusive videos of each
visionary, go to gq.com.au
2 3
R O G E R S HA M O U N, M AU R I C E TE R Z I N I,
Z I M M A TA I LO R S R E STAU R ATE U R
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 181
Franco
W O R D S JAKE M I LL AR P H OTO G R A P H Y MAT TH EW B ROO KES S T Y L I N G O LIVIA HAR DI NG

AFTER TWO DECADES

AS AN ACTOR, AUTHOR,
ARTIST, ACADEMIC,
DIRECTOR, PRODUCER AND
POET, THE 39-YEAR-OLD IS
FINALLY READY TO WORK
ON HIS BIGGEST PROJECT
TO DATE. HIMSELF.
Green cashmere jumper, $1499,
by Ralph Lauren Purple Label.
 IT’S HARD
TO KNOW WHICH
JAMES FRANCO TO
EXPECT, BUT IT’S
FAIR TO SAY THIS
IS NOT THE ONE
WE HAD IN MIND.
It’s just gone 4pm in Los Angeles and the 39-year-old is
doing what he does these days, which is getting a smoothie.
Something with cacao. Earlier today he was playing tennis
and before that, he hit the gym. We’re here to talk work, but
when we speak to him, Franco hasn’t acted in more than six
months. “To somebody like Daniel Day-Lewis, that sounds
like nothing,” he laughs. “But for me, that’s an eternity.”
Weird. But weird is what Franco does. It’s his
stock-in-trade. For the best part of two decades, he has built
an image as one of Hollywood’s most baffling, complex
figures. Few actors have redefined success, rebuffed
stereotypes and frankly, made us wonder just what the fuck
they’re up to, quite like Franco.
He’s a chameleon. An artist in a movie star’s body. An
intellectual or faux intellectual or maybe a genius. A guy
who juggles teaching at two different universities with
studying a PhD of his own. The straight guy who responded
to gay rumours by trying to appear as gay as humanly
possible. A walking, talking performance artwork.
The  heart-throb who would be worth his Hollywood pay
cheque if all he did was turn up on set and deliver that
trademark smile. Small wonder he was chosen as the face
of new ‘Coach Man’ fragrance.
But more than anything else, the thing most people know
about Franco is that he’s tirelessly, relentlessly productive.
A whirlwind of creative energy, whose output is so extensive,
it makes you feel exhausted just trying to keep track of it all
– much less actually attempting any of it.
Franco has some 17 projects scheduled for this year alone.
These include a film adaptation of a novel that he also wrote
himself, Actors Anonymous, which follows the highs and lows
1 84 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
of young actors in Hollywood, and HBO TV series
The  Deuce, about the ’70s porn industry in New York, in
which he plays two characters – a pair of twins. He also
directs two of the eight episodes.
“I felt like now was my chance to do all these weird
projects I had been thinking about, so I might as well strike
while the iron’s hot,” he says. “I was shooting The Deuce in
New York. The sun’s shining, I’d just got off work and I was
walking across town to go teach. And I remember thinking
‘Wow, my life is great. And it’s great because I’m working so
much and I’m doing everything that I want to do’.”
On our shoot, Franco is everything you’d want from
a  Hollywood star. Funny, engaging, charming. He’s also
seriously ripped; his body showing barely even a hint of any
fat. But in truth, this is our second attempt at this interview.
The first one did not go according to plan – Franco and the
interviewer did not exactly hit it off.
“I was not trying to be difficult at all,” he explains. “There
was just some weird energy going on. I really wanted to have
a great interview and I was just trying to be really honest.”
Shit happens. But it will later become clear why this is so
important. Franco does not want this to be a typical
interview. He’s not interested in talking about how he
prepared for an upcoming role or what his co-stars were like
to work with. He has a confession to make. Because in
November last year, everything we thought we knew about
James Franco changed. The guy we were so used to seeing
with a million projects on the go, began to realise he couldn’t
do it anymore. He’d had enough.
“I really had a moment of crisis,” he says. “I hit a wall.”
And this new Franco, that’s who we’re here to meet.
Light blue denim/shearling
jacket, $3785, by Gucci;
black cotton T-shirt,
$360, by Giorgio Armani;
blue denim jeans, approx.
$620, by Fabric-Brand & Co.
Cashmere/suede/
shearling jacket, approx.
$9390, and cotton/
cashmere shirt, approx.
$1620, both by Tom Ford
at Harrolds; denim jeans,
approx. $620, by
Fabric-Brand & Co.
F
ranco grew up in Palo Alto, a well-
to-do city in San Francisco’s Bay
Area. His mother, Betsy, is a novelist
and sometimes actor, and his father,
Douglas, ran a tech company that
secured shipping containers, until he
passed away in 2011. Franco has two
younger brothers – 32-year-old Dave,
who you probably know and 36-year-
old Tom, who you probably don’t. Franco was a smart kid,
good at maths, but he was awkward and unsure in his skin.
“I got in a lot of trouble when I was a teenager, “ he says.
“I didn’t know how to interact with people. I felt different.
But partying was the answer. It made me feel OK, like
I could be among other people.”
He had a few run-ins with the law early on. Minor things
– underage drinking and graffiti, stealing from department
stores – but enough to realise he had to straighten himself out.
“I couldn’t hang out with my friends anymore because I’d
always get in trouble with them,” he says. “So there I was –
alone again, an outsider, not able to fit in the world. That’s
when I started acting.”
Franco had found his home. He started taking
classes  at  the  renowned Playhouse West acting school
and  supported himself with a late-night shift at
McDonald’s,  where he  practised accents on customers.
He landed a Pizza Hut commercial and a handful of small
TV roles. Then in 1999 he got his first big break when
Judd  Apatow cast him in cult TV series Freaks and Geeks
alongside Seth Rogen and Jason Segel.
From there, he scored a role as James Dean in a TV biopic,
and as Peter Parker’s best friend, Harry Osborn, in
Spider-Man. He played Robert De Niro’s junkie son in City
by the Sea, and then came Spider-Man 2. Suddenly, his career
was taking off.
The offers kept pouring in: as Sean Penn’s boyfriend in
Oscar-winner Milk and Allen Ginsberg in Howl; he was cast
as Julia Roberts’ love interest in literary blockbuster Eat
Pray Love and then delivered perhaps his most acclaimed
performance to date, as hapless adventurer Aron Ralston in
127 Hours, for which he received an Oscar nomination.
He didn’t win, but he didn’t care. He had to keep moving.
Franco took on more work. He was holding art exhibitions
of video work and teaching acting classes at UCLA and
NYU. He enrolled in a PhD course to study English at Yale
University. He wrote a book of short stories, a collection of
poetry and that novel, Actors Anonymous. He was directing
projects and producing others.
He appeared as artist-cum-serial killer, Franco, in soap
opera General Hospital, whose 20 episodes he filmed in just
three days. He starred in The Interview, the film about the
assassination of North Korean dictator Kim Jong-un, which
led to a minor international crisis and the notorious Sony
email hack. He hosted the Oscars. He appeared as unhinged
porn producer Joe in King Cobra, his latest gay role on screen.
More movies. More side-projects, always more and more.
And that’s how we ended up here, in 2017, with 17 projects in
the can and a few more on the way.
It is everything you might imagine a movie star’s career
could be. Enough fame to have a name for yourself, but the
freedom to pick and choose the jobs you want. Hollywood
has always been a tricky game, but Franco’s career seemed to
prove that if you play your cards right you really can do it all
and have it all.
But Franco recently discovered another truth to
Hollywood. Something they don’t tell you when you’re
enjoying the parties and fancy hotel rooms. The caramel-
topped almond lattes, delivered just so. The private planes
and premieres and all the other trimmings that come with
being a movie star. Franco found that it might offer you a life
of unimaginable fame and fortune, but Hollywood is not
your friend. And it will eat you alive.
L
ast year was a big year. Not just
for  Franco, but for many people.
On the morning of November 8, the
American public went to the polls,
most expecting to end the night with
Hillary Clinton delivering a victory
speech. The story is old news now,
but things did not go according to
plan. You can’t help but feel that
watching Trump win – especially after a campaign in which
he’d railed against people like Franco, branding Hollywood
a town of ‘elites’ and ‘snowflakes’ – must have hit hard.
“I feel like it’s not a total coincidence that I hit my own
personal wall at the time that I did – last November,”
says Franco. “I think a lot of people have been questioning
their lives lately in the States and what they’re doing,
how they’re living.”
And there’s no denying the way Franco was living was
crazy, whichever way you look at it. The stories of his multi-
tasking are the stuff of legend. Co-stars remarking how he
would sit down to work on side-projects between takes.
There’s a lot of downtime on set, so he’d pass the time
reading Ulysses or working on a novel. That’s what Franco
told interviewers, anyway. That’s what he told himself.
“He’s making use of every single moment,” Why Him?
director John Hamburg told Rolling Stone last year. “The
other day he was in hair and make-up, typing on a laptop.
I said, ‘What are you doing, writing a novel?’ He said, ‘Yep’.
And he actually was!”
Of course he was. He’s James Franco. But he began to
realise that the more he worked, the more he felt there was
something missing. That, while acting had made him feel
safe all those years ago as a shy teen, the feelings of isolation
had never really gone away. He’d just learnt to hide them.
“It was a gradual thing,” he says, looking back. “I hadn’t
been in a relationship in a long time and was, like, realising
how much I was running from feelings and people. And how
much of my identity was wrapped up in work.
“I knew who I was on a movie set. But take me away from
that and it’s like, oh shit, I have to interact with people outside
of the dynamics of a movie set? That’s really scary.
“But as soon as I took a step back and stopped working, it
was like, holy shit. All the feelings flooded in and it was like
this is what I was running from. This is what I was using
work to hide from. This is why I had to occupy myself every
minute of the day, 24 hours a day. Because I was running,
running from emotions and being vulnerable and being
around people. Being myself.”
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 87
 Black cotton T-shirt,
$360, by Giorgio Armani;
blue denim jeans, approx.
$620, by Fabric-Brand & Co.
 Franco says it freely now: he was a workaholic. But part of
the reason he didn’t realise it sooner is that no one ever really
thought it was a problem. All of the projects and side projects
were just Franco being Franco. That’s just what he did – until
he reached a point where he couldn’t keep it up any longer.
“The thing about work addiction is our culture supports
it,” he says. “We reward hard work and success. But it can
really mask addictive, escapist behaviour.
“I’ve never done heroin in my life, but I imagine if you get
off heroin, people talk about facing reality, all these feelings
coming back. Whether you know it or not, you want to bury
them with the drug. And when you’re turning to things outside
yourself to fill yourself, there’s never going to be enough.
“I’m still just dealing with all of it, but with addiction, a lot
of it comes down to ego. And in Hollywood that might even
be more dangerous because the mirror that reflects your ego
back is like 100 miles wide in Hollywood.”
There’s also the fact that being busy was not just what
Franco did – it was who he was. More than just a guy who
did a million different things, that was his persona. People
expected him to live up to it. It was all part of the Franco
mythology he’d gradually built up over the last 20 years.
“Every interview I gave, people would tell me, ‘You’re
known for doing all these things, are you a workaholic?’ And
what I would hear was, ‘That means you work really hard.
You work harder than anybody’.
“But in fact, being a workaholic means you’re addicted to
something. And what’s underneath addiction? It’s about
hiding from fear, from pain, it’s doing something to make
yourself feel better. That’s exactly what I was doing and I had to
really adjust my relationship to work. It’s really hard. I’m sure,
like anything you’re addicted to, letting that go is  difficult
because it’s a coping mechanism to make you feel good.”
But there was another side to Franco’s persona. There was
also the kooky guy who’d post weird Instagram selfies, or
pen op-eds in the New York Times defending Shia LaBeouf’s
creative prowess. There was James Franco, the actor, but
there was also James Franco, the walking performance art
project. And what about the gay rumours? The is-he, isn’t-
he guessing game that Franco fuelled with his movie choices,
an interview in which he said he was “gay up until the point
of intercourse” and a book of poetry called Straight James /
Gay James, released last year.
“There was also a part of me that embraced that public
persona who was just whacky and hard to pin down,”
he  admits. “So I had something to do with it. But that
persona also rose around me – it wasn’t as if I could just do
that all by myself.
“What I told myself at the time was that this public
persona is an entity that is me and that is not me. And
I wanted to have fun with it. But now that I’ve taken a step
back, I’m only engaging with projects that I really care
about. I’m not on social media, I’m not doing things just to
try them. You won’t find me hosting the Oscars on a whim.”
You wouldn’t know it by looking at him, but Franco turns
40 next year. It’s a moment that made him realise that two
decades in the movie industry is a long time; he’d be lucky to
have two more.
“I’m at that point where I realise how valuable time is,” he
says. “I think that I’ll be happier if I spend it doing things
that I really love instead of spreading myself so thinly, doing
190 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
a lot of things that I kind of care about, but not with my
whole heart.
“What I’m really conscious of is that I realise what a great
life I have, so I’m truly trying to be grateful. Forty is a big
milestone, but I feel like I went through my own version of
a midlife crisis – so I don’t think I’ll hit another one at 40.”
Franco’s last serious relationship was with Ahna O’Reilley,
best know for her role in The Help. They split in 2011, after
five years together. “She broke up with me,” he told Rolling
Stone last year. “There were lots of reasons. But one was that
I was so busy.”
That was six years ago. Is he looking to settle down?
“I’ll say this,” he says, choosing his words carefully for the
first time. “I was a person that was incapable of settling
down with anyone because I was so self-consumed before.
I was incapable of sharing my heart with anyone. I was so
scared to be vulnerable that I made myself busy every minute
of the day, so I had an excuse. But I didn’t realise until it
T
started to hurt enough.”
here’s a podcast Franco has been
listening to recently. It’s about stars
from the golden age of Hollywood,
the good old days. But it made
Franco see that many of their stories
have a common thread beyond the
fame and money and glamour.
“All my heroes, from Elizabeth
Taylor to Montgomery Clift to
Humphrey Bogart – there is just so much wreckage in their
lives,” says Franco. “They were looking for romance to save
them or for work to save them, and as their careers faded – as
everyone’s inevitably does – they just became wrecks.
Alcoholics, drug addicts. Story after story.
“It made me realise I need to find some other way to feel
OK with myself outside of my work. I still love my work, but
it can’t be this thing I turn to for happiness. When I made
my happiness contingent on how I was doing professionally,
inevitably there are ebbs and flows in every career and when
things weren’t going well, I felt like shit.
“Then I have to act out in other ways to make myself
feel  better. And when you’re turning to things
outside  yourself to fill yourself, there’s never going to be
enough – you’ve got to do more and more things to escape.”
Franco has teamed up with brother Dave to form their
own production company, Ramona Films. Their first
feature, The Disaster Artist, is about the making of The Room,
widely recognised as the best worst movie of all time. It’s due
out later this year.
They are also developing a film called Zola, the true story
of a stripper who was lured into a sex-trafficking ring and
ends up live-tweeting from captivity. Granted, this might
sound like a project tailor-made for the whacky Franco of
old, but he’s quick to point out he’s changed his perspective.
“I have a whole new approach. I have slowed down,” he
says. “I thought that I was making my work better by
overworking, but after a while you realise there’s no more oil
in the car. You’re running on fumes, and you will burn out if
you keep going at this pace.
In 2013, Franco agreed to appear in Comedy Central’s Roast
of James Franco, as the likes of Seth Rogen... Continued p256
Cashmere jumper, $1499,
by Ralph Lauren Purple Label.
 “LIKE ANYTHING YOU’RE
ADDICTED TO, LETTING
THAT GO IS DIFFICULT
BECAUSE IT’S A COPING
MECHANISM TO MAKE
YOU FEEL GOOD.”

Black cotton T-shirt, $360,

by Giorgio Armani; ‘Coach
Man’ fragrance ($85; 60ml)
worn throughout. coachfor
menthefragrance.com

Grooming Diana Schmidtke

at Something Artists
The GQ Australia team  flew
to LA with Qantas; qantas.com
THIS IS NOT
W O R D S JAKE M I LL AR
FAKE NEWS
WHY WE BELIEVE THINGS THAT AREN’T TRUE

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 195

 COMET PING PONG IS
A SMALL, FAMILY-
FRIENDLY PIZZERIA IN
WASHINGTON DC. LOCALS
KNOW IT SIMPLY AS
COMET, THOUGH ITS FULL
NAME REFERS TO THE
FACT IT OFFERS BOTH
CLASSIC, THIN-CRUST
PIZZAS AND A BACKROOM
CONTAINING COMMUNAL
PING-PONG TABLES.
Founded in 2006 by chef James
Alefantis, it quickly became
something of a local institution,
appearing in the pages of the
Washington Post, New York magazine
and US GQ. It was also featured in
a 2013 episode of  popular Food
Network show, Diners, Drive-Ins
and Dives whose peroxide-tipped
host, Guy Fieri, singled out its
calzones for special praise.
If ever there was a time when
the self-described “hipster-heavy
pizza parlour” had an opportunity
to gain international attention,
it would be natural to assume it
had come and gone with Fieri’s
visit. But that would be wrong.
Because on December 4, last year,
28-year-old Edgar Maddison
Welch entered the pizzeria with
three guns, including an AR-15
assault rifle – a semi-automatic
version of the weapon used by the
US military – and opened fire.
“I just wanted to do some good,”
Welch told the New York Times
following his arrest, “and went
about it the wrong way”.
That a pizzeria would become
the target of a shooting is unlikely
196 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
enough – though perhaps less so
in the US, where there were at
least 150 mass shootings in the
first half of this year. But
the  reasoning behind Welch’s
attack – that he was trying to stop
“something nefarious” happening
inside the restaurant – makes it all
the more extraordinary. Stanger
still, Welch was hardly alone in
his belief.
On October 30, 2016, a Twitter
account belonging to someone
calling themselves
Goldberg, mentioned “rumours
David
stirring in the NYPD” about
a paedophile ring in Washington
DC. The tip-off, Goldberg
suggested, had been uncovered
during a search of disgraced
congressman Anthony Weiner’s
computer and allegedly revealed
that not only were high-ranking
Democrats involved, but that
Hillary Clinton was at the
centre of it.
Users on Twitter and Reddit
soon turned their attention to the
Wikileaks dump of some 20,000
pages of emails, taken from
the  personal Gmail account
of  Hillary Clinton’s 2016
presidential  campaign chairman,
John Podesta. They began
combing them for clues of the
alleged crimes, arriving at
the  conclusion Podesta and his
brother were responsible for
abducting missing British toddler
Madeleine McCann.
They also theorised that some
of the emails had been written in
code, and that certain food-
related terms were in fact veiled
references to an underground
child-sex operation. ‘Cheese
pizza’, a user on internet forum
4Chan suggested, was actually
code for ‘child pornography’,
since the words shared the same
initials. Soon, amateur detectives
were scouring the DC area for
a  corresponding venue where
Democrat leaders were supposedly
detaining and sexually abusing
young children, even sacrificing
some in the name of Satan.
Focus was then put on an FBI
document, also published by
Wikileaks, which listed clandestine
symbols that paedophiles often
use to identify their sexual
preferences. The term ‘child
lover’, for instance, was
represented by a butterfly whose
wings approximated love hearts.
The would-be sleuths compared
this with logos of local businesses,
noticing that it bore a semblance
to one on the menu for a local
pizzeria – a pair of criss-crossed
Ping Pong bats on the website for
Comet Ping Pong.
The so-called ‘Pizzagate’
rumour began to gather pace. It
was referenced in a tweet by
Michael Flynn Jnr, the son of the
Trump administration’s short-
lived national security advisor and
himself part of Trump’s transition
team. It was also promoted on
sites including InfoWars – best
known for claiming the
September 11 attacks were an
“inside job” and that the 2012
Sandy Hook Elementary School
gun massacre, in which 20 young
children and six adults were
murdered, was “completely fake”.
Last November, Australian
NBA player Andrew Bogut
tweeted to his 300,000-plus
followers that “if only 1 per cent
of this #pizzagate scandal is true,
all people involved deserve life in
prison (or worse)”. The following
month, a poll of over 1200 voters
found 14 per cent of Trump
supporters believed Clinton was
connected to a child sex ring run
from the pizzeria, while a further
32 per cent said they were “not
sure”. One person who was in no
doubt was Welch, who is now
serving a four-year prison sentence.
It wasn’t until March this year
that InfoWars founder Alex Jones
finally admitted he had been
wrong about the whole thing.
“Neither Mr Alefantis, nor his
restaurant Comet Ping Pong,
were involved in any human
trafficking,” he announced in
a statement on March 24. “I want
our viewers and listeners to know
that we regret any negative impact
our commentaries may have had.”
It’s one of just two retractions
listed on the InfoWars website.
The other relates to an accusation
that yoghurt brand, Chobani, was
employing “migrant rapists”
who  deliberately spread
tuberculosis throughout the
company’s manufacturing base of
Twin Falls, Idaho. This turned
out to be incorrect.
Conspiracy theories have been
around for decades. From the
assassination of President John F
Kennedy, to those who doubt the
1969 Apollo 11 moon landing ever
took place, there have long been
people who question the accepted
version of events.
Today, these range from
relatively fringe ideas like
‘Pizzagate’ or rumours about
Hillary Clinton’s health during
last year’s presidential campaign,
to those who query the veracity of
climate change science, or the
effectiveness of medical vaccines.
Donald Trump, for instance, has
said vaccines cause autism and
once tweeted that “Global
warming is a total, and very
expensive, hoax”.
Within three days of ‘David
Goldberg’ tweeting about the
‘Pizzagate’ scandal, it had caught
the attention of a website called
Your News Wire, which regularly
publishes conspiracy theories
relating to climate change, aliens
and the murder of Princess
Diana  at the hands of the
British government.
Other fringe outlets then began
to embellish the story, adding
details that police had raided and
seized Hillary Clinton’s property.
A right-wing website called True
Pundit reported that police had
discovered evidence in the
Clinton camp of everything from
money laundering to sex crimes.
This story was then tweeted by
the David Goldberg account as
confirmation of the original
tweet. And while all of these
reports were based off
information in a single tweet,
casual observers may have assumed
it had an air of credibility.
Professor Stephan
Lewandowsky is an Australian
psychologist now based at the
UK’s University of Bristol. He’s
spent years researching
misinformation and conspiracy
theories, and says there’s little
doubt the internet has helped
them spread quickly.
“Things can go viral in no time
at all,” he says. “One tragic
example was the Sandy Hook
massacre in the US – within a day
or two, these conspiracy theories
popped up, suggesting it was
staged and all these children are
still alive. Without the internet,
I could not think of a way in which
that kind of bizarre conspiracy
theory could have spread very far.”
In June, Florida woman Lucy
Richards was charged with
sending threats to Leonard
Pozner, the father of a six-year-
old boy killed in the Sandy Hook
FROM TOP:
attack. Richards, who believed PRESIDENT OBAMA
the event was a hoax designed to AND JOE BIDEN,
FOLLOWING THE
build support for gun regulations, SANDY HOOK
admitted sending Pozner a series MASSACRE; THE
ENTRANCE TO
of death threats over email and COMET PING PONG;
INFOWARS HOST,
voicemail. “This is reality,” the ALEX JONES.
judge said during sentencing.
“There are no alternative facts.”
Richards was sentenced to five
months in jail.
Certain people, especially those
disillusioned with their own lives, alternative explanation of the some outlets’ algorithms tailor
are often more prone to accepting world, which makes them more content to a user’s previous
conspiracy theories than others. likely to embrace others. browsing habits. This can create
For them, conspiracy theories can “What the internet does is so-called ‘filter bubbles’, where
provide a sense of security; provide pretty much anyone with the users develop a kind of tunnel
a reason why their lives have not the illusion that there is a lot of vision for content that  reinforces
turned out how they would have support for their own opinion,” their worldview, at the expense of
liked. “It’s more comforting to he says. “And one of the things anything that  does not.
believe people are conspiring that is concerning about that is we “On the one hand, this is
against you than it is to just be know a person’s opinion becomes extremely helpful,” says Prof
randomly left out of life. People more strongly established and Lewandowsky of algorithms that
don’t like randomness,” says Prof harder to change, the more that modify everything from your
Lewandowsky, adding that those person thinks their opinion is social media feed to online
who believe one conspiracy widely shared.” shopping habits. “But on the
theory tend to have a “broad Some claim that social media other hand, they emphasise this
propensity” to accept an has exacerbated this issue, since idea that each one of us is living in
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 1 97

FROM TOP:
DONALD TRUMP AND
WIFE, MELANIA ON
HIS INAUGURATION DAY;
FACEBOOK’S MARK
ZUCKERBERG;
A CAMEL CIGARETTE
ADVERTISEMENT
FROM 1950.
this little bubble that’s isolated
from other people. And if you
take that to its extreme, what
you get is this intense polarisation
that we’re observing now.
It’s  not  at all without
negative consequences.”
Facebook deploys an algorithm
to curate the content users see in
their News Feed, based on as many
as 100,000 factors. These include
whether companies have paid for
certain content to be promoted, or
how a  user interacts with similar
posts – whether you ‘liked’ or
commented on similar topics.
198 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
The internet not only makes
it  easier to find those who share
your beliefs, it also allows you
to ignore those who don’t. A study
released by the US Pew Research
Center last October showed that
while half of Facebook and
Twitter users had been surprised
by one of their connections’
political views, 83 per cent
ignored these posts, while
39 per cent had changed their
settings to  hide these differing
political views.
Facebook has repeatedly denied
claims that the company’s
algorithms create ‘filter bubbles’
that restrict exposure to
a  diversity of opinions. “We’re
working to help people build an
informed community that
exposes people to new ideas and
builds common understanding
in a world where every person has
a voice,” a Facebook representative
told us.
“Core to this vision is the
importance of ensuring people
have access to accurate
information so they can make
decisions about the world around
them. False news and hoaxes are
harmful to our community and
make the world less informed.
Everyone has a responsibility to
curb the spread of false news from
tech and media companies to
newsrooms and classrooms.”
It would be easy to assume that
identifying misinformation would
help change people’s minds, or,
at least, cast doubt on reports that
have been shown to be false.
Except that, often, it doesn’t.
In  fact, pointing out falsehoods
can actually have the opposite
effect; it can make people hold
on to their mistaken beliefs even
more fervently.
In 1989, Donald Trump was
a  real estate developer in New
York, when he took out full-page
advertisements in all four of the
city’s major newspapers. The
subject of the ads was not a new
apartment complex or golf course,
rather, it regarded a crime that
had gripped the city for weeks.
That April, a  young woman had
been attacked and raped while
jogging in Central Park and five
juveniles, all aged 14-16, were
convicted of the crime. Trump’s
ads called for  New  York to
reinstate the death penalty.
But in 2001, the so-called
Central Park Five were exonerated
after new DNA evidence came to
light. In 2014 they eventually
received a  $53m settlement. In
response, Trump wrote an
editorial for the New York Daily
News in which he claimed they
were still guilty and pointed out
they “do not exactly have the pasts
of angels”. It’s a view Trump has
repeated as recently as last year,
while running for President.
“They admitted they were guilty,”
he told CNN in a statement. “The
fact the case was settled with
so  much evidence against them
is outrageous.”
Research indicates this
propensity to reject conflicting
evidence is not unique to the
leader of the free world. “If you
tell people something – even if it
is later on corrected – they tend to
stick to the original information,”
explains Prof Lewandowsky. “For
the most part, people don’t update
their memory. That is something
we’ve found over and over again.”
In 1988 two researchers from
the Scottish University of Dundee
published a study in which
participants were shown a series
of news reports about a fictitious
fire. One of these stated that
flammable paint and gas canisters
had been stored in the room
where the blaze started. The
researchers then issued
a correction: there were no paint
or gas cylinders in the room.
But when participants were
later asked questions about the
cause of the fire, many still raised
the possibility that the paint or
gas canisters were to blame. In
fact, they were just as likely to
refer to them as potential causes
of the fire, as those who hadn’t
been issued the correction at all.
Statistically speaking, the
correction made no difference.
Notably, even after Welch had
been arrested for his Comet Ping
Pong attack, he refused to accept
that the story of the paedophile
ring was entirely false. “The intel
on this wasn’t 100 per cent,” he
eventually conceded to the New
York Times. “I regret how
I handled the situation.”
But in some cases, attempting
to correct information is not
simply ineffective – it can have
an  adverse impact. Some of
Prof  Lewandowsky’s earliest
research began around the time
of  the 2003 Iraq War and
initial  claims by the Bush
administration that Saddam
Hussein was harbouring weapons
of mass destruction.
His studies revealed that
on  certain issues – particularly
topics that had become
politicised  – attempts to correct
misinformation could lead
to  a  ‘backfire effect’, where
a  correction makes someone
believe in misinformation more,
not less. “People who came to the
lab believing that there were
weapons of mass destruction,
actually believed it even more
strongly afterwards,” he says
of  his attempts to set the
record straight.
People’s political outlook plays
such a role in how they perceive
certain issues that Prof
Lewandowsky says it’s possible to
predict a person’s views on climate
change based not on their ideas
around the environment, but on
the free market. Put simply, the
less someone believes in
government intervention and
regulation, the more likely they
are to reject scientific evidence
about climate change, since it
doesn’t fit with their broader
worldview. They are predisposed
to believing it’s a hoax.
Present data shows that around
97 per cent of publishing climate
scientists agree that humans are
responsible for global warming.
Yet according to a report from the
Yale Program for Climate
Change, released in July, more
than 90 per cent of Americans are
unaware there is a scientific
consensus on climate change. At
least part of the reason for this is
the way the media frames the
issue as a debate – as though the
scientific community is evenly
divided on the issue.
“The media often thinks their
job is to be balanced,” says Prof
Lewandowsky. “Sometimes that
is totally appropriate – when it
comes to both sides of a political
issue – but when it comes to things
that are evidence based and that
are scientific, balance is more
of  a  bias because it can create
the  appearance of debate where
there is none.”
And when it comes to science,
doubt can be dangerous.
“Even when people know that
there is a scientific consensus, if
you can present them with
a contrary view, it will lower their
confidence in the science,” he
says. “The moment you have the
appearance of the scientific
debate in public, people lose their
commitment to  the science. If
you’re not a  scientist and you
don’t read the literature, it’s very
easy to get a  sense of a  debate
where there is none.”
Certain groups are well aware
of this. During the ’50s and ’60s,
tobacco companies undertook
a  deliberate campaign of
misinformation aimed at casting
doubt on the link between
smoking and lung cancer. Though
a scientific consensus was found
between smoking and lung
cancer  in the early ’50s, tobacco
company Philip Morris issued
public statements throughout the
’60s declaring there was “no
definitive proof that smoking
causes lung cancer,” that
“knowledge is insufficient” or that
the smoking-cancer link is an
“open question”.
ATTEMPTS TO CORRECT
MISINFORMATION CAN LEAD
TO A ‘BACKFIRE EFFECT’,
WHERE PEOPLE BELIEVE IT
MORE NOT LESS.
MORE, LESS
In 1999, the US Department of
Justice brought a landmark legal
case against the company, alleging
fraud and unlawful conduct. It
resulted, seven years later, in
a successful 1683-page judgement
that detailed “a massive 50-year
scheme to defraud the public” by
casting doubt on the scientific
consensus of the link between
smoking and cancer.
One piece of evidence often
used to cast doubt on the scientific
consensus on climate change is
the Oregon Petition. Launched
by US biochemist and politician
Arthur B Robinson – who believes
climate change is a hoax – it began
circulating in 1998. The petition
claims to bear the signatures of
31,000 scientists who reject the
idea that humans are responsible
for global warming.
However, the petition is not
limited to climate scientists and
is  instead open to anyone with
a  Bachelor of Science degree
or  higher. It has also been
criticised as poorly vetted, since
one of the signatories was Charles
Darwin, who had been dead for
over 100 years at the time of the
petition’s publication. A member
of ’90s girl group the Spice Girls
also features twice on the list –
once as a microbiologist.
On June 23, the New York Times
published a list of false public
statements made by President
Trump in the days since his
January 20 inauguration.
Alongside each of them were
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU
clarifications, fact-checking
Trump’s declarations: “‘I wasn’t
a  fan of Iraq. I didn’t want to
go  into Iraq.’ (He was for
an invasion before he was against
it),” and so on. The article shows
Trump did not go a day without
making a  public false statement
until March  1 – 41 days into
his presidency.
“On the one hand, it’s terrific –
Donald Trump’s twitter feed
is a source of inspiration for me as
a  researcher,” says Prof
Lewandowsky. “But, of course,
it’s tragic because  what we have
now is a  public discourse that is
not constrained by anything.
Donald Trump accuses others of
spreading fake news, when
in actual fact, it’s Donald Trump
who is not  telling  the truth a lot
of the time.”
Fact-checking website Politifact
has assessed that just 17 per cent
of what Trump says is ‘true’ or
‘mostly true’ – compared with 49
per cent for Barack Obama. Still,
Trump’s previously accused
American news channels CNN,
NBC, CBS, ABC, as well as
the  New York Times and the
Washington Post, of being what
he calls ‘fake news’.
One person tasked with
addressing misinformation is
reporter Linda Qiu. Having
previously worked at Politifact, she
is now a dedicated fact-checker
for the New York Times and is one
of those  leading the fight against
fake news.
Continued on p256.
199
 As the
new AW17
collection
arrives in
stores, we
go behind
the scenes
to find out

WORDS
JAKE M I LL AR
P H OTO G R A P H Y
C H R I S VI DAL TE NOMA A
STYLING
TR EVOR STON ES

Knit jumper, $810,

and knit beanie, $650,
both by Fendi.
 what
makes
Fendi one
of this
season’s
coolest
brands.
TH I S PAG E
Wool top, $1000, and wool
pants, $780, both by Fendi.

R I G HT
Wool top, $1010, and
denim jeans, $750,
both by Fendi.

202 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

P
eople often have a certain
idea of those who work
in the fashion industry.
Designers, especially.
They can seem cold and
unapproachable, insecure
and short-tempered, and they tend to
dress as though life were one long
funeral procession.
Of all the fashion insiders who should
fit this mould, Silvia Venturini Fendi is
perhaps the most likely. She has known
Karl Lagerfeld since she was a child and
her very name is a byword for high
fashion. Which is why it’s surprising to
find that Fendi is the least fashion-y
fashion person we’ve ever encountered.
She’s not even dressed in black.
We meet at Sydney’s Park Hyatt,
whose combination of privacy and
harbourside views has made it a favourite of visiting celebs. We join
Fendi in a secluded meeting room, where she is seated with her
assistant. But as fancy as the hotel is – and it’s fancy – Fendi is
determined to leave it.
This is her first visit to Australia and Fendi is hoping to expand on
the series of landmarks that comes with trips like this. Namely:
airport, hotel, Fendi boutique, hotel, airport. It’s also a warm, sunny
afternoon and Fendi has been joined by her adult son, Giulio – founder
of custom surfboard company, Pool House Project. “He’s obsessed
with surfing,” says Fendi. “So I was at the beach all morning.”
Weather aside, our interview takes place during an interesting
climate. Not just for Fendi or for fashion, but for the world. Fendi’s
AW17 menswear collection made its way down the runway on
January 16; four days before Donald Trump stood before the “largest
audience ever to witness an inauguration, period” and became the
45th POTUS. It would be easy to imagine a sombre collection that
reflected an uncertain future. But Fendi didn’t take the bait. “I have
no choice but to be optimistic,” she said before the show. “I have
children and grandchildren.”
Instead, Fendi delivered sporty silhouettes, bright Pop Art-y colours
and upbeat slogans. There was a zipper with a tag that read “BLISS”;
a jumper printed with “LOVE”; a jacket emblazoned with “HOPE”;
and, of course, the magic word that made it all possible: “FENDI”.
Critics were clearly feeling the good vibes, too. Vogue called the
collection “one of the deftest, most sympathetic and
positive collections of this season”.
“It’s a moment where we all need good energy,” says Fendi. “It was
an important year, full of question marks. I wanted to approach the
logo in a different way – as a word that has meaning. So I thought
of others that are important to me, that have a good vibe and send
a positive message.
“Today, we are so used to playing with words because we write
more than we talk,” she adds. “We’ve seen this in many collections –
a T-shirt becomes a manifesto – and I like to talk about important
subjects, but in a light way. At the end of
F
the day, we are not sociologists; we are
not here to change the world.”
endi was founded in Rome
in 1925, by Adele and
Edoardo Fendi. They had
five daughters – Paola,
Anna, Franca, Carla and
Alda – who would all come
to work for the label. In 1965, they were
joined by Karl Lagerfeld, the label’s
current creative director. Three decades
later, Anna’s daughter, Silvia Venturini,
took the reins of the women’s accessories
line and the men’s collections.
In 2001, Fendi became part of the
LVMH family, whose stable of fashion
brands includes Louis Vuitton, Dior,
Givenchy and Loewe. The brand
continues to grow and in the most recent annual report, LVMH
singled it out as a high achiever. In 2015, the company’s annual revenue
surpassed €1bn – that’s around $1.5bn a year.
Italian Pietro Beccari has been Fendi’s CEO since 2012, joining after
a six-year stint at Louis Vuitton. We meet him just before the opening
of Fendi’s new Westfield store in Sydney’s CBD. “Australia is
developing strongly,” he tells GQ. “This is a great market to be in, it’s
an enthusiastic one. From being at Louis Vuitton, I knew the potential
of the country and the appreciation it has for beautiful products.”
The store stocks men’s and women’s collections, as well as bags,
accessories and footwear – a decision Beccari says is no accident. “It’s
important that our stores get bigger and bigger to be able to host
different categories, like ready-to-wear,” he says. “We like to present
the entire lifestyle and Fendi is mature enough to do that now.”
Menswear currently sits at around 20 per cent of the brand’s total
turnover – a number Beccari wants to see hit 30 per cent in the next
three years. Proof of Australasia’s importance, the brand recently
announced a menswear collaboration with K-Pop star Taeyang, a
member of hugely popular South Korean boy band Big Bang.
Doesn’t ring a bell? The group has sold 140 million albums,
worldwide, and Taeyang has 7.5 million followers on Instagram.
The capsule collection of jackets, T-shirts, accessories and sneakers
will be available in October.
One of Beccari’s pet projects has been to phase out the more
affordable, somewhat cliché, ‘ ’ monogram print bags, and refocus
on the brand’s luxury roots. “Maybe one day you will see it back,” he
says. “In the runway show you’d have seen the logo coming back, in
a sophisticated way.”
Indeed, the women’s AW17 show featured a reimagined version of
the brand’s iconic monogram-print bag, rendered not in canvas but
with intricate embroidery. Silvia Venturini Fendi is carrying one today.
“For some, a logo is just a logo. But for me, it’s like a contract you
make – it’s a quality mark. And I’m proud of this,” she says, displaying
the bag at her side, “it’s a way of making [the logo] anti-commercial
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 203
 TH I S PAG E
Wool jumper, $1010,
and knit pants, $990,
both by Fendi.
R I G HT
Shearling coat, $9990,
knit jumper, $810, and
wool pants, $960, all
by Fendi.
Grooming
Roberto Pagnini
at Airport Agency
Talent Roberts
Semjonovs at
BRO Models
Casting Director
Svea Greichgauer
at AM Casting Paris
because it’s a bag that costs a fortune, but when you touch it, it’s
so nice!”
Fendi’s not kidding. The bag retails for a touch more than $9000,
but this self-awareness is refreshing for a luxury designer. And more
than simply acknowledging her clothes aren’t cheap, Fendi is
determined to give customers value for money. Most of the items in
her AW17 menswear collection were reversible.
“I like everything to have a function,” she explains. “So there are
many detachable parts and you can modify it according to the moment.
The inside is sometimes more important than the outside. When I do
a bag, I spend days thinking about the things you can put inside, to see
if it fits all the necessary things in it. With garments, it’s the same. I pay
attention to hidden pockets and durability – those kinds of things.”
In addition to designing menswear, Fendi also oversees women’s
accessories and some of her best-known creations – the ‘Baguette’ and
‘Peekaboo’, to name two – have achieved undeniable ‘it-bag’ status. It is
in this role that she also works alongside Lagerfeld.
“I was five years old when I first met him,” she says. “Of course,
there’s a professional aspect, but there’s also a friendship there. What
I am today is thanks to him. We spend a lot of time together because we
work on the collection, but we have different lives – totally different.”
Lagerfeld has spoken of being drawn to little else but fashion and
sketching. And while it might be natural to assume Fendi shares this
single-mindedness, she admits to having considered a life outside of
fashion. Regularly. “I think about it every day,” she says. “When
I travel, I look at houses and imagine what would have happened if I’d
been born in this house, on the other side of the world. Who would
I be? What would I do? Because I was born into this, so I think:
‘Did I choose this or did it choose me?’”
It might be a bit of both. But if Fendi did have her time over, she’s
thought about what career path she might have chosen. Some
alternative occupations she has considered include: a doctor, a chef, a
psychiatrist, a farmer and an author. “Last night I thought I would like
20 4 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
to write a book,” she recalls. “I had jetlag so I was awake at 4am and
a story came to mind. I would like to try one day.”
And why not? These days, designers have become celebrities in their
own right. Besides designing collections for Chanel, Fendi and his own
label, Lagerfeld is also an accomplished photographer and author. Even
his pet cat, Choupette, has a book, a plush toy range and make-up
capsule collection by cosmetics giant Shu Uemura. Not even joking.
Suffice to say this is not what Fendi wishes for herself. It’s probably no
surprise that this, doing interviews, is Fendi’s least favourite part of her
job. She wishes she could have followed the lead of Belgian designer
Martin Margiela, a designer so obsessed with anonymity that – despite
operating at the peak of the fashion world for years – there are scarcely
any known photographs of the man. “If I could, I would like to behave
like him, just to be backstage, behind the scenes,” she says. “I think he
was so clever.”
Yet here we are. As reluctant interview subjects go, Fendi is
remarkably friendly, if reserved – at least until talk turns to banal
questions journalists ask her. Turns out there are quite a few.
“‘Where do you find inspiration?’” poses Fendi, her face a look
of mock-horror. “I go crazy when I hear this question. If there were
a place where I go for inspiration, do you think I would tell you?”
Fair point. But Fendi’s not finished. “‘Who is the Fendi man?’”
she continues. “I don’t know. Everyone and nobody.”
We begin to scan our questions for any serial offenders.
“‘What’s luxury to you?’” she sighs. “My god. What’s luxury?
Nothing!”
A piece from Fendi’s autumn/winter collection will come in handy in
situations such as this. It can be sent out to aspiring fashion journalists
prior to an interview. Or maybe it could be handed to certain world
leaders before they decide to log on to Twitter, first thing in the
morning. It is an unassuming grey headband that offers advice we
could all use every now and again – and now more than ever. It says
simply: “THINK”. n
ANTHON
 RAISED IN BRISBANE WITH LITTLE OTHER THAN AN ABILITY TO
DRAW, THE LAST DECADE HAS SEEN THE 37-YEAR-OLD SCRATCH
OUT ACCLAIM AS ONE OF THE WORLD’S LEADING STREET
ARTISTS – HIS WORKS NOW HANG ON THE WALLS OF HUGH
JACKMAN, PINK AND GEOFFREY RUSH, AMONG OTHERS. AHEAD
OF A HIGHLY ANTICIPATED NEW SYDNEY SHOW AND A MIFF-
HEADLINING DOCUMENTARY DETAILING THE MEANDERINGS
OF HIS LIFE, WE FIGURED IT TIME FOR A SIT-DOWN.
W O R D S R IC HAR D C LU N E

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 207

 JUNE 30, 2017.
THE FOLLOWING IS FROM
A CONVERSATION WITH ANTHONY
LISTER OVER A FEW BEERS IN HIS
STUDIO AND HOME IN SYDNEY’S
DARLINGHURST. HE’D JUST
I “It still doesn’t calculate for me, all of this. I’ve
come in on this strange wild card from Brisbane,
my parents are working class and had nothing to
do with art.
My grandma was a painter but never sold
one in her life – I picked up the trade from her,
I guess. She did landscapes, mainly, but I’ve got
this one of hers that she did of Will Smith – she
cut him out of the newspaper at 84 and painted
him. I was I like, ‘do you know who that is –
RETURNED FROM SHOWING that’s the Fresh Prince’. And she looked at
IN LISBON WITH TIME SPENT me and was like, ‘that’s a very attractive young
man’ and she gave it to me for my birthday – it’s
PAINTING THE STREETS OF one of my favourites.
I never knew what painting entailed – I just
BARCELONA. HIS YOUNGEST knew that I liked it and I pursued it. I was always
fed scrap paper and would just draw and play with
DAUGHTER, POPPY, PLAYS ABOUT jigsaws or build Gameboy consoles out of wood
and imagine the actual games – that’s how hard
IN THE OPEN, WHITE-WASHED up we were. And I was bored, and a way to relieve
SPACE. LISTER IS GENTLE IN my boredom was to create.
At 10 I was crushing boxes at the local chemist
MANNER AND SPEECH. HE IS and I did all the shit jobs, I went through the
butchers and packing shelves and delivering
ENGAGED AND ARTICULATE.
THESE ARE HIS WORDS. B E LOW: TH I S P I EC E R E F E R E N C E S THAT TR AG I C
DAY LU N A PA R K B U R N E D TO TH E G R O U N D A N D I S
A PA R T O F A N O N G O I N G S E R I E S O F WO R K W H I C H
I S BAS E D O N ‘TH E H O R N E D M AN O F LU N A PA R K’.

20 8 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
pizzas – all the shit stuff with no customer
service. I just knew I didn’t want to do that
forever and blindly pursued what my heart
was set on.”
“Lister is the street artist but there are many
other aliases I operate under because I have
multiple creative personality disorder – it’s
a blessing and a curse, but doing this thing for
so long, I see opportunities that I personally can’t
take that one of my aliases can… it enables me
to communicate in many different dialects to
different styles of painters – from full-blown
graffiti artists to fine art and Kandinsky and
I can talk de Kooning for days. But it’s not my
whole life, it’s my way to exist on every platform,
on the movements that have gone on or are
current – it’s how I’ve immersed myself in, well,
I hate to call it an industry because it cheapens
it, I’d call it a lifestyle.”
“I don’t associate myself that much with my
work and I don’t associate my work with being
anything outside of ordinary or special – it’s not
like I’m fixing kids’ eyes in a third world country,
that’s worth clapping for. I’ve been shocked for
many years getting the attention I get in other
countries doing what I do, because so much of it
is positive and really affirmative – especially
having been raised in Brisbane and being
this freak anomaly and the community not
comprehending what I was doing.
In some cities I’m meeting celebrities and
going to fancy parties and then in a different
city I’m chased by the police and put in jail
for doing the same thing. It’s abstract, I guess
you have to be like a tree – this flexible entity
that’s ready for anything.”
“I heard someone say recently that people don’t
change, they just get better at being themselves,
so maybe I’m just getting better at doing that and
what I’m doing technically, conceptually and
philosophically – I’m interested in questions and
I’m interested in other people and their answers
to things.
I’ve always tried to maintain that I’m only
as good as my last production and only as
good as my last decision. It gives me hope to do
better and I’m never interested in making shows
that aren’t as good as my last – I put a lot of
pressure on myself to do that but I don’t find it a struggle as much as I find
it exciting and a challenge and I enjoy that.”
“The Sydney show is more text based and I want to have a wolf raping
a girl, I want these guys carrying a dolphin up to a club but he’s got no ID,
I want a tired stripper, there’s going to be a guy and girlfriend trying to
put a condom on and it’s flaccid ’cause that’s a slippery, difficult job and
there’s a guy in a wheelchair who’s going to have all these women trying
to have sex with his chair covered in all these dildos. I want it to be
Australian and I want neon text and I want there to be plants and an
Adidas-tracksuit mum with a pram – things I see out during the day.
I want it to be beautiful but also somewhat disturbing – maybe that’s in
the technique I’m painting in or the subject matter that I choose.
I don’t want to be provocative – these are the paintings I want to hang on
my walls, that’s when I’m satisfied. I’m attracted to the works of Adam
Cullen and the Chapman bothers and Goya to an extent – I’m not so
much into the grotesque as I am into the bizarre or the absurd or the
sexually taboo – they are interesting fields and I like the idea of being
naughty and myself having to explain that and then that taking me into
a conversation that wouldn’t normally happen. And that then has people
talking about things and thinking about things they don’t really do.”
“I was into speed and coke and I was just fucking going crazy, it was nasty.
But it’s all good now. I’ve recorded heaps of my life – when the camera’s
there I’d shoot and always have been a documenter, I guess. And in this
film my wife leaves me and I go through this hellish divorce, I go to rehab
in Bali and get done for drugs and graffiti – the last 10-15 years have been
crazy. The film’s honest and I don’t try and hide anything – and I can’t
wait to see people’s reactions to it.”
“I’m interested in spreading my seed and pollinating the world though all
these different disciplines with my stylistic approach. Creativity is in
every shape and form a way of venting energy. It’s magical and I can’t ever
think of my practice as a means to survive. If an object is eventually sold
or put in auction – I can’t think like that as these paintings are not an
object, they’re a story. I love them.” n Lister’s new show runs September
13-29 at Nanda\Hobbs Contemporary, Sydney; Meet The Listers is expected in
cinemas early 2018; anthonylister.com
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 209
 S PE LLI N G TH E WO R D B E AUT Y I N CO R R EC TLY I N TH E BAC KG R O U N D WAS AT F I R ST U N I NTE NTI O N A L A N D TH E N B ECA M E TH E C R UX O F W HAT TH E WO R K WAS A B O UT.

ANXI E T Y PL AG U E S SO M ANY PEO PLE FO R SO M A NY MYSTE R I O U S A N D D I F F E R E NT R E ASO N S .

210 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 TH I S PAI NTI N G R E PR E S E NT S TH R E E STAG E S O F AWA R E N E S S I N TH I S M ATE R IA L WO R LD O F CO N S U M E R O B S E S S IV E N E S S .

BY B O R R OW I N G TH E B U LL’S H E AD F R O M P I CASSO’S ‘G U E R N I CA’ AN D J UX TA P OS I N G IT W ITH A F LO R A L PAT TE R N I N TH E BAC KG R O U N D O F, I A M D R AW I N G AT TE NTI O N TO H OW

G R E AT WO R KS O F AR T A R E B E I N G U S E D BY B I G CO M PAN I E S TH E S E DAYS A N D PR I NTE D I N E V E RY TH I N G F R O M TE A TOW E LS TO WA LLPAPE R .

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 2 11
TH I S PAG E
Willow wears wool jacket,
$3800, cotton shirt, $940,
wool pants, POA, silk tie,
$260, and leather boots,
$1950, all by Dior Homme.

R I G HT (F R O M LE F T)
Maxime wears wool jacket,
POA, wool/polyester
sleeveless jumper, $820,
cotton shirt, $890, POA,
silk tie, $260, wool pants,
and metal pants chain,
$2750, all by Dior Homme.
Willow wears corduroy
jacket, POA, wool/
polyester sleeveless
jumper, $820, cotton shirt,
POA, silk tie, $260,
corduroy pants, POA,
leather gloves, $1600, and
metal pants chain, $2750,
all by Dior Homme. Aliou
wears wool jacket, $2600,
cotton shirt, POA, silk tie,
$260, wool pants, POA,
metal pants chain, $2750,
all by Dior Homme.
 S T Y L I N G O LIVIA HAR DI NG

STREET LEVEL
P H OTO G R A P H Y JAM ES RO B JANT

KNOWN FOR
IMPECCAB LE
TAILOR ING, DIOR
HOMME TAKES
SU ITING TO
A N EW LEVEL
OF COOL WITH
RAVE-INSPIRED
PR INTS AN D
STREET WEAR
ACCENTS.
TH I S PAG E
Maxime wears black wool
jacket, POA, black/red
wool sleeveless jumper,
$820, red cotton shirt,
$890, black silk tie, $260,
black wool pants, POA,
black leather belt, $1150,
and metal pants chain,
$2750, all by Dior Homme;
bracelet Maxime’s own.

R I G HT
Aliou wears nylon bomber
jacket, POA, and wool roll
neck jumper, $1100, both
by Dior Homme.
LE F T
Willow wears spray-
painted fur jacket, $6800,
nylon roll neck jumper,
$450, wool pants POA, and
metal pants chain, $2750,
all by Dior Homme.

TH I S PAG E
Maxime wears nylon
bomber jacket, $3900,
nylon roll neck jumper,
$450, wool pants, POA,
and metal pants chain,
$2750, all by Dior Homme;
bracelet and earring,
Maxime’s own.
 LE F T (F R O M LE F T)
Aliou wears black cotton
sleeveless hoodie, $1100,
and black cashmere roll
neck jumper, POA,
both by Dior Homme.
Willow wears black
corduroy jacket, POA,
orange/black wool-blend
sleeveless jumper, $820,
white/brown cotton shirt,
POA, and black silk tie,
$260, all by Dior Homme.

TH I S PAG E
Maxime wears wool jacket,
POA, nylon roll neck
jumper, $450, wool pants,
POA, leather boots, $1950,
leather belt, $1050, and
metal pants chain, $2750,
all  by Dior Homme.

Grooming: Giulio Panciera

at B Agency
Casting Director:
Svea Greichgauer
Talent: Willow Barrett
at Rebel Management,
Aliou Drame at 16MEN,
Maxime Frenel
at Success Models
GOOD
TH E WORLD’S TOP
MODELS SHOW
YOU HOW B EST
TO WEAR DEN IM .

JEANS
P H OTO G R A P H Y N EAL FR AN C
S T Y L I N G TR EVO R STON ES
LE F T
Christopher Einla at
16MEN wears denim shirt,
$700, cotton turtleneck,
$450, denim jeans, $700,
and leather boots, POA,
all by CALVIN KLEIN
205W39NYC.

TH I S PAG E
Julian Schneyder at
Kult Australia wears denim
jacket, approx. $860,
by Off-White c/o Virgil
Abloh; denim jeans,
approx. $270, by APC;
leather belt, approx.
$115, by Polo Ralph Lauren.
TH I S PAG E
Erik van Gils at Marilyn
Agency wears wool
jacket, $2450, and cotton
shirt, $575, both by
Ermenegildo Zegna.

R I G HT
Victor Perr at 16MEN
wears denim shirt, approx.
$200, and denim jeans,
approx. $245, both
by Polo Ralph Lauren;
sterling silver Venetian
Link ID bracelet, $475,
by Tiffany & Co.
LE F T
Louis Baines at Kate Moss
Agency wears black
denim/red leather jacket,
$6330, and blue wash
denim jeans, $1010,
both by Gucci.

TH I S PAG E
Nathan Morgan at New
Madison wears denim
shirt, POA, by Tom Ford
at Harrolds; cotton jeans,
$940, by Dior Homme;
calf-skin leather boots,
$1820, by Brioni.
LE F T
Kit Butler at Kult Australia
wears denim shirt,
approx. $920, by Berluti;
denim jeans, $445,
by Dries Van Noten.

TH I S PAG E
Dominik Sadoch at
Success Models wears
denim jacket, $299,
by RM Williams.

Grooming: Giulio Panciera

at B Agency
Casting Director: Svea
Greichgauer at AM
Casting Paris
Digital Art: Alistair
Buchanan at Capturelab
 BACK
TO
‫بغداد‬ M U N J E D A L M U D E R I S E S CA P E D
A D I C TATO R ’ S C LU TC H E S, S U RV I V E D
H E L L   I N A N AU S T R A L I A N D E T E N T I O N
C E N T R E A N D B U I LT A C H A R M E D,
SUCCESSFUL HARBOURSIDE LIFE
I N SY D N E Y. T H E N , I R AQ CA L L E D.
W E T R AV E L W I T H T H E R E N O W N E D
S U R G E O N – TO D O C U M E N T H I S
R E T U R N TO B AG H DA D, T H E
C I T Y H E WAS FO R C E D TO F L E E .

W O R D S A N D P H OTO G R A P H Y ADAM BAI DAW I

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U
nder the cloak of a balmy night, the armoured black
SUV hits 140km/h. It’s bolting down Route Irish,
once known as the deadliest road in the world.
The stoic driver floors it – failing to ever fully stop
at the various security checkpoints. On the roof of
the car, in plain sight, two flame-shaped rotating
cylinders block cell phone signals, foiling the remote detonation
of any explosives.
In the front passenger seat, a dapper delegate of the Iraqi Prime
Minister juggles two phones, texting, calling, Viber-ing and
WhatsApp-ing at a frantic pace. Doctor Munjed Al Muderis, the
pioneering Iraqi-Australian orthopaedic surgeon, sits in the rear.
Tonight he’s taking in Baghdad, his hometown, for the first time
in almost two decades.
“As the plane started descending, all I could think was, ‘What
have I done?’” confided Al Muderis to GQ, moments after landing.
It had taken a personal invitation from Iraqi Prime Minister,
Haider al-Abadi to convince him to return. And now, he was
questioning his RSVP.
Travelling at speed down Route Irish means feeling every bump –
every patched-over scar from an improvised explosive device (IED) or
mortar. We’re racing from Baghdad International Airport, bound for
the relative safety of the Green Zone – Baghdad’s administrative
city-within-a-city. A few weeks earlier, this careful, choreographed
routine was used to carry Prime Minister Malcolm Turnbull.
Spend long enough with Al Muderis and you’re bound to encounter
his theory on the Wheel of Fortune – a personal metaphor for the
cyclical rhythm of life’s ups and downs. As he descended a private
staircase off a plane and into an armoured Mercedes, it was clear that
his fortune has undeniably swung back to the top.  hospital’s parking lot, briefly interrogated and shot dead in full view
Al-Abadi has invited Al Muderis to visit from his harbourside home
in Sydney – a city in which he’s pioneered the revolutionary
osseointegration surgery, a procedure that eschews a centuries-old
socket system, fusing bone to titanium,
THEIR ORDERS
allowing patients to use limbs once
thought lost. Al-Abadi, overseeing
a relentless battle with IS, has an army
WERE CONCISE...
rank full of soldiers whose limbs have
been removed by IEDs. Long-estranged
THE DOCTORS
from his home country, Al Muderis
could be the key to getting these soldiers
back into the field.  had begun. Hours later, several people
WERE TO AMPUTATE
If you’d asked the 45-year-old surgeon
just a year ago, he’d have told you that his
THE EARS OF
place in Iraq is something he left for
dead, decades earlier. Australia, happily,
is home now. Baghdad, the place of what
EACH DESERTER.
was a charmed childhood, had become
the stage of nightmares. The last time
he’d been here, his fortunes were
dimmed – almost permanently. In fact,
a few weeks before heading back, he’d joked that the Iraqi invitation
was perhaps a rouse – that he’d be tricked into returning, then killed.
But that risk has been taken – Al Muderis returned to reconcile his
life, past and present.
A thousand times over, this could have been the story of a man
dehumanised to the point of radicalisation, or the story of another
unassimilated refugee living in helplessness. Instead, Al Muderis’
story is a reminder, that a man can always start – and restart – again.
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Al Muderis easily admits that he was born with a silver spoon in
his mouth. In reality, it may have been gilded. His is a family tree
stuffed with cultural and political influence – one that can allegedly
be traced back to the Prophet Muhammad, and one that, to this day,
commands deference.
He grew up with a nanny and a housekeeper. A chauffeur drove
him to his school. Such was the standing of Al Muderis’ education
that Saddam Hussein’s own sons, Uday and Qusay, attended his high
school – the latter at the same time as Al Muderis. He recalls their
obnoxious and violent behaviour, and how they’d often arrive for
school in a new Mercedes, or on quad bikes.
While harbouring a keen interest in robotic limbs – driven by
watching The Terminator at 12 – the heavy burden of family legacy saw
Al Muderis go on to do a degree in medicine. His time at university
was continually interrupted as the First Gulf War broke out in 1990.
US forces were pounding the Hussein regime, which would eventually
be forced to retreat from Kuwait.
Like most Iraqis, Al Muderis didn’t consider the war reason enough
for life to grind to a halt. He finished his degree and with the allure of
the Terminator carrying through to adulthood – he decided, early on,
to specialise in orthopaedics.
It was in 1999, as a first-year medical resident, that the trajectory
of his life forever shifted. Under the glowing fluorescent lights of
Saddam Hussein Medical Centre in Baghdad, Military Police
marched a queue of army deserters into a dingy operating theatre
where Al Muderis and his peers were prepping for the day.
Their orders were concise – by decree ‘115/1994’ of the constitution,
the doctors were to amputate the ears of each deserter. The lead
surgeon, citing the Hippocratic Oath, refused. He was taken to the
of his colleagues.
“If anyone shares his view, step forward,” stated a brutish officer.
“Otherwise, carry on.”
Al Muderis, in shock, could calculate
only one path to escape – hiding in the
women’s changing room. He quietly
slunk out of the operating theatre and
locked himself into a cubicle.
Hunched over porcelain, listening
to each passing voice and footstep with
dread, Al Muderis’ treacherous journey
entered the changing room. Al Muderis’
chest tightened. But the steps belonged
to nurses. The bloody deed had been
completed – work finished for the day.
As horrifying as it was, sitting on that
toilet was one of the last moments of
reprieve Al Muderis would have for
more than a year.
The budding surgeon’s family
smuggled him out of the country and into Jordan. Al Muderis crossed
the border in a car, with around US$20,000 strapped to his gut –
a parting gift from his devastated mother. Eventually, he fled
to Indonesia, where he handed over his passport and paid a people
smuggler for a spot on a small fishing boat bound for Australia.
The then-27-year-old survived a harrowing 36-hour journey,
doing his best to care for pregnant and elderly passengers, all sardined
in a mass of humanity that was soon stained by urine and vomit.
 AL M U D E R I S STE P S F R O M TH E PL A N E; S NAP S H OT S O F H I S TI M E O N TH E G R O U N D, WO R K I N G W ITH WO U N D E D I R AQ I SO LD I E R S .
The ship’s captain had deserted them, only a few hours into the
journey – and it was a marvel they didn’t meet the same mortal fate
that so many refugee-filled boats bound for Australia would.
Eventually docking on Christmas Island, Al Muderis was vacuumed
into Australia’s refugee system. Curtin Detention Centre, in Western
Australia’s remote, arid Kimberley region, would be his home for the
indefinite future. There, his name was replaced by a number – 982.
It would be nearly a year until he was again humanised.
Al Muderis recalls a visit from a supposedly high-ranking official
of Australia’s Department of Immigration that occurred shortly after
his arrival at Curtin.
“You are not welcome here. The Australian people do not want
you here. You will be detained here indefinitely,” barked the woman.
“However, if you choose to go back to your homeland, we can help
facilitate your return.”
He tells stories of squalid conditions, emotional and racial abuse,
and unspeakable cruelty towards children. At one point, collaborating
with an intrepid male nurse, Al Muderis used a disposable camera to
snap the horrid reality of the detention centre. The nurse mailed the
photos to all major Australian newspapers, magazines and television
stations. No one ran the story.
At one point during detention, Al Muderis came face-to-face with
Australia’s then-Immigration Minister, Philip Ruddock – a man he’s
labelled “as cold as an Antarctic winter”. On raising the issue of child
abuse, asking why the centre’s children couldn’t be released into the
community to foster families, he recalls Ruddock’s response: “You
broke the law to come here. If we release the children, it’ll be
rewarding them for breaking the law.”
(Years later, Ruddock would describe the Curtin Detention Centre
as Australia’s “most primitive”.)
Al Muderis’ 10 months in Curtin was punctuated by nights in
solitary confinement and a short stint in the maximum security
section of Broome Jail for the supposed incitement of unrest within
the Centre. Tellingly, Al Muderis found the latter a welcome respite
from Curtin – for one, he was referred to by name.
“I’ll tell you what, the prison system in Australia is brilliant,”
he says. “I strongly recommend that.”
He was eventually cleared of all charges.
In August of 2000, with the Sydney Olympics less than a month
away, Al Muderis was dumped, unceremoniously, at a dusty bus stop
near Curtin. His asylum had been granted – he was free. With little
over three grand left over from his mother’s parting gift, he could
suddenly go wherever he wanted. Yet he didn’t go terribly far, hopping
on a bus to Broome and then meandering along WA’s mesmerising,
coral-dotted northern coastline. He thought it was beautiful.
The first time GQ met Al Muderis, he was stealing the show at
a private event in Melbourne. To be clear – Australians fawn over
athletes more than any other country. Yet, on a panel comprised of
world champion surfer Mick Fanning and beloved Melbourne Victory
soccer captain Carl Valeri, it was Al Muderis who won the room’s
hearts. The crowd lurched from amusement (on learning of his daily
two-litre Coke habit) to solemnity (on recounting his journey to
Australia) to admiration (on outlining the costs of his ambitious
career). His humble, self-effacing persona feels tailor-made for
Australia – a country whose intolerance of ego is legendary.
On arrival today in Baghdad, Al Muderis’ silver tongue has deserted
him. Not trusting his Arabic, he leans back on English.
“I was working with the Poms...” he says jokingly to a room full of
hospital administrators.
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 “Poms?” responds a hospital director.
“You know, Poms, they’re the British. Americans are Yanks.
We have words for all of these in Australia. Lebanese are ‘Lebbos’.
Greeks are ‘Wogs’. Iraqis are ‘Sand Niggers’.”
The point fails to hit in this room, as it would in Australia, where
those with dual cultural identities often use such would-be
disparaging nomenclatures as a sort of
“GOD? GOD DID THIS
coat of armour. Al Muderis learnt this
early on. Mocked and belittled by his
TO YOU?” SAYS
newfound orthopaedic peers, often called
a terrorist or told to go back to Curtin, he
realised that, in Australia, owning a label
AL MUDERIS ONLY
goes a long way.
We’re inside the Green Zone, perched
HALF JOKING.
near the Republican Palace and an array
of foreign embassies. Ibn Sina, the
hospital we’re visiting is one of – if not the
“NO, IT WAS SATAN.”
– best government hospital in the
country, a place that gained certain
recognition through the HBO
documentary, Baghdad ER.
Here, the vinyl floors are peeling, walls are cracked, and
a cockroach can be seen beneath the desk in Al Muderis’ makeshift
consulting room.
“This is much better than I thought it would be,” he offers.
Some 200 soldiers and officers have been summoned, to be triaged
by Al Muderis over two days. Each has lost a limb, most from direct
battle with IS forces.
For the Iraqi government, the hope is that Al Muderis can return
in a few months and get these men back on their feet. Ideally, back
into battle. This visit marks the first step in the process – triaging,
determining patient suitability and assessing what he’ll need
going forward.
The first challenge of the exercise quickly rears its head – that is,
most of these men smoke. A lot. Like, three packs a day. Al Muderis
is horrified. None of them could be operated on without a high risk
of infection – too many Malboros prompting poorer blood circulation,
and from that comes a lessened ability to recover from a procedure.
Al Muderis’ osseointegration procedure – fusing a prothesis directly
into bone, advancing the old technique of fitting it over a stump – is
marked by its departure from convention.
He stumbled across it during a period of research in 2008. With
its genesis in tooth implants, the technique has gone on to forever
ameliorate medical treatment. Today, only a handful of global
surgeons conduct such procedures, in part because of the risk of
infection. Al Muderis refuses to operate on any patient who’s smoked
a cigarette within 90 days of surgery.
“Inshallah,” says a paramilitary officer, missing a leg, on being told
to cease smoking immediately.
“God has nothing to do with it!” responds Al Muderis in Arabic.
“Listen,” he adds, softening his tone, ‘God will help the man who
helps himself’.”
After being with Al Muderis for a few days it becomes clear that
he’s part of a long line of secular Iraqis for whom religion is a glib
punching bag. Each morning in his Sydney surgery, he begins
proceedings by proclaiming, in Arabic, laeanakum Allah (God curse
you all). It’s his way of removing fate, and God, from medicine,
which he believes comes down entirely to skill.
Outside the makeshift office, the inpatient room begins to overflow
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with injured men and women – all missing limbs. They wear long
faces and often, make-do prosthetics. The masses, to Al Muderis’
dejection, spill outside into an improvised smoking area.
He tends to each patient methodically – usually working in a joke.
“Smoker?” he opens to a police offer whose leg has been amputated
above the knee.
“No, I don’t like it,” shrugs the officer.
“Are you sure you’re Iraqi? Do you
even like tea?”
Another paramilitary officer responds
to the query with another tokenistic,
“Inshallah”.
“God? God did this to you?” says Al
Muderis, only half joking.
“No, it was Satan.”
“It was a religious fanatic...” says Al
Muderis, as the room full of residents
and government officials begins to quiet.
“...I better shut up before you guys take
me and hang me too.”
The office bursts with laughter.
One man, still in evident trauma, recounts the story of running
towards an IS car bombing to steal away a young child from harm.
As the pair sprinted from the scene, a second explosion detonated.
The child, clasped in the officer’s arms, acted as a shield from the
mass of penetrative shrapnel. The child’s body was whisked away in
the force of the violence. Only a small head remained, cradled in the
officer’s hands. The soldier lost an arm. He demonstrates the way he
was holding the child, hugging his one-and-a-half arms to his chest.
The irony that, whether earnestly or facetiously, large swathes
of the West would reflexively assess these patients as ‘terrorists’ is
not lost on the foreigners in the room. The Institute of Economics
& Peace found that, in 2016, Iraqis continued to suffer the world’s
greatest impact from terrorism – an impact score of 9.96 out of 10.
(Australia and the US ranked number 59 and 36 in the world,
respectively – with impact scores of 2.74 and 4.88.) The data makes
clearer what’s an initially murky picture – that the people of Iraq,
indeed the country itself, are the world’s greatest victims of terror.
The day yawns into a steady rhythm of hobbling, downcast
patients feeding in from three different waiting rooms. Each is
x-rayed by staff, then carefully fed into a database by Al Muderis’
assistants. The x-rays will act as an ever-growing chronicle of
lives altered and horrors seen. Over and over, the room hosts
stories of war, of snipers, of suicide bombers, of innumerable
IEDs and RPGs.
As the day wears on, Al Muderis slowly regresses into the Iraqi
mannerisms – and perhaps the identity – he was certain were buried.
He oscillates between Arabic and English, trading thoughts in
rapid-fire Arabic, occasionally punctuating with a blunt, “Really?!
That’s stupid.”
Watch him during his 15-hour day at the hospital, and he’ll never
sit. He never so much as leans against a desk.
“I’m not tired,” he offers. “I just feel sorry for these people. There’s
so many of them.”
“It’s a shame there’s only one Munjed,” says a doctor, after the 22nd
patient is seen.
The steady work is only interrupted by an appointment. If it were
anywhere but the Republican Palace, you get the feeling Al Muderis
would skip it. Continued on p257.
I N S I D E TH E C IT Y’S G R E E N ZO N E , AS A G U E ST O F I R AQ I PR I M E M I N I STE R HA I D E R A L - A BA D I; M E E TI N G A P OS S I B LE S U R G I CA L CAN D I DATE .

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 233

ALL HAIL
W O R D S R IC HAR D C LU N E
 FO R A L E S SA N D R O M I C H E L E ,
T H E C R E AT I V E FO R C E B E H I N D
G U C C I ’ S R E S U R G E N C E , I T’ S A L L
A B O U T T H E B E AU T Y - A N D G I V I N G
T H E P E O P L E W H AT T H E Y WA N T.

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 235

Y
ou are not here.”
It’s an inauspicious start
to our Milanese date with
Gucci’s new maestro,
Alessandro Michele.
“Sir, I can state again
that you are not here.”
And so he does – the burly, black-clad
bouncer who’s angular physicality suggests
Eastern European over Italian, firmly
reiterating the error made, that this is not
our point of entry. Not today.
It seems the heavy tint and lithe, low-slung
lines of the Audi that’s ferried us to Gucci’s
so-called Hub, on the industrial outskirts of
the city, is to blame – passing an initial
checkpoint, the first means of division that we
were waved through, arriving at the velvet
rope apparently not meant for us.
Further along we shuffle, to attach to
other members of the general public and
a moving queue that arrives at a lengthy
courtyard informing but a minor piece of
Gucci’s recently opened HQ – a dramatic
35,000m2 plot of functional, squared buildings
of glass and brick and open space on a site that
once housed Caproni Aeronautics.
Our stuttering debut is made all the more
amusing on eagerly waving back to a familiar
Australian face across the growing crowd,
a child-like display of excited expressiveness
and flapping... only to realise his gesturing is
236 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
actually for the attractive blonde stood
directly behind. We smile back.
No cigarettes allowed. Not here, beyond
the rope, within the sanctum. Filthy habit,
anyway. And so, instead, we take in Alexa
Chung – looking surprised, as she does,
not a striped Michael Kors top in sight.
The overachieving Brit ‘It’ stares down
the multiple phone cameras of kids who’ll
have likely spoken about themselves, without
hesitation or remorse, in the third person
at some point during the previous 24 hours.
Today, they’ll immediately post their
captures to the millions of followers
(#farshon) they apparently have.
Hari Nef joins ‘It’ as A$AP Rocky uses
the glare coming from his wonderful smile,
stacked as it is with truly luminous teeth,
to part the crowd – and contend with hasty
captures from the kids with the phones,
each craving the further promotion of
a supposedly attractive existence.
Elsewhere, actress Selma Hayek’s cleavage
wrestles against the confines of a tight, lowly
cut pink dress as Bobby Gillespie, great man
and recent feature of Gucci and GQ’s video
series ‘The Performers’, squints into the soft
February sun.
Against a red brick wall, Tom Hiddleston,
stands tall and alone – a smirk smudged
across his private schoolboy face; a smirk
that suggests he’s aware that he’s tall and
alone. A smirk that also had him chosen by
Michele to be the face of Gucci’s cruise 2017
tailoring campaign.
The Night Manager lead who blew every
chance of ever being Bond by temporarily
falling victim to Taylor Swift (#tshirt), wears
well the three-piece striped navy suit he’s
opted for (or, had laid out for him on the
firm bed of a large, darkened suite within
a centrally-located designer hotel).
The Englishman’s a stark, sophisticated
contrast to whatever it is Jared Leto’s come
as – bearded and buried under a tiger-
emblazoned hoodie that stretches from
beneath a gothic print denim jacket, coupled
with gym shorts over knitted tights, ankle-
high kicks and headband.
It could be that he’s taken cues from
a Bostonian roofer working through the
cold creases that fold into the latter part of
spring. Could be.
Leto’s a firm friend of Michele – their
bromance blossoming since late 2015 after
the actor and musician (#quirk) was
personally asked by the then newly installed
creative director to use his ageless face to flog
fragrance for the house. They quickly hit red
carpets à deux and then Leto took the Roman
designer to the Academy Awards in 2016,
both sporting Gucci loafers and an
excitement reminiscent of two 17-year-olds
heading for a high school formal.
“I HAVE WITNESSED FIRSTHAND THE AMOUNT OF THOUGHT,
CARE AND PASSION HE PUTS INTO EVERYTHING... IT’S INSPIRING.”
Leto’s bold and unique – that much can’t
be challenged. He’s engaged and intelligent
(if that Thirty Seconds To Mars doco is used
as a test) and while a curious fit for Gucci, he
further cements where Michele wants to play.
“Yves, Karl, Gianni, Giorgio, Christian,
Coco. It’s rare that a new name can be added
to such an illustrious list,” Leto wrote for
Time of his friend, who secured a spot on the
magazine’s 2017 global list of ‘The 100 Most
Influential People’. “But Lallo, as he is known
to his closest friends, has more than earned
his place. I have witnessed firsthand the
amount of thought, care and passion he puts
into everything he creates. It’s inspiring to
behold. People don’t just like Gucci. They
desire it...”
The actor’s not quite so verbose today –
on opting for a quick step from tinted car to
frow, a simple “I’m excited to see the show”
his response to being hastily asked about the
afternoon Italian adventure.
Leto’s right, of course, about the desire,
about what Michele’s been able to achieve
since being thrown the keys to the castle
in January 2015.
Because people are again hungry for their
Gucci fix. In fact, for many among the new
legion of fans, or even the returned devotees
– it’s more than a desire, it’s again a need.
On landing in Milan a day earlier, Gucci
shopping bags dominated those being
paraded on and around Via Monte Napoleone
by grungy, angular fashion kids. It was a
simple, observational understanding of the
incredible injection of allure Michele’s
bought to the storied house since replacing
Frida Giannini. It was about the element
of cool that’s been again captured by the
facing ‘double G’.
Still, expectation is a devious mistress –
as enchanting and desirable as she can be
deceptive and destructive. And as much as
desire and devotion walks among those
gathered at Gucci Hub ahead of today’s
AW proceedings, questions are entwined
within the anticipation – a thought about
whether the man who had, since 2002,
worked in the background could again
create a collection that not only inspires,
but which drives a narrative for others
to tailgate on the seasonal roads ahead?
We head inside the cavernous, blackened
space to a front row that delivers as only the
front row does. Shuffle shuffle. ‘Sorry I think
that’s me? No, oh, OK.’ Shuffle shuffle.
O F TH E 1 1 9 LO O KS O N
‘Great to see you.’ Mwah. ‘I can’t believe she’s
S H OW, M I C H E LE ’S LOV E
wearing slides.’ O F ACC E SSO R I E S
It also provides a strong position to witness F E ATU R E D H E AV I LY I N
A N EC LEC TI C M IX O F
other celebrity arrivals – the ethereal PAT TE R N A N D PR I NT.
Florence Welsh floating as she does in
floor-length print, Anna Wintour wearing
a two-piece that’s not black, the man who
picked up Kate Moss by commenting that she
smelt like wee, Jefferson Hack, and Bobby
Gillespie, again, still squinting despite the
darkness. It would appear he’s just squinty.
We stare at the heavy curtain that shields
the catwalk and what’s to come – excited,
really, to collect firsthand such an experience
and engage with a performance that,
according to show notes, is built on
foundations of an ‘Alchemist’s Garden’,
which is an ‘anti-modern laboratory’. The
notes also present the Egyptian symbol
Ouroboros – that of a snake eating its own
tail. It’s perhaps suggestive of the cyclical
nature of fashion; that all is old is again new.
Though is such a symbol not also about the
process of self-renewal, of bettering where
things have come from and walking towards
an improved future?
We’re about to find out.
Lights up and models stomp along a raised,
enclosed plexiglas catwalk – think a human
take on the pending Hyperloop. Those
walking are far removed from classical
etchings of beauty, and instead are angular
and mulleted, as unique and striking as the
pieces in which they pose, a cast of characters
as much as walkers.
It’s quickly obvious that Michele has
picked up and gently progressed on where
things had been left – whimsy and vintage
attached to what’s presented, bold pops of
colour, lavish touches of embroidery,
text-driven logo T-shirts (‘Common Sense
Is Not That Common’), as scrawled by the
street artist Coco Capitán.
It’s wild and elaborate and fun – flowing
’70s suiting in tan meets ’80s punk in ripped
denim and a continued affinity for AC/DC
T-shirts as high fashion. The accessories,
meanwhile, are a heady slate of designs that
run from rock ’n’ roll bull rings to Royal
Tenenbaums-esque headbands to a incredible
wealth of bags – a line that will alone power the
buying passion of fanboys for another season.
The 119 looks, each styled by Michele, is
a co-ed combination (territory in which he’s
familiar) allowing insight to the man’s full
heart – the two sides beating as one – as well
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 TH E STAR S W E R E O UT I N F U LL FO R C E TO W ITN E S S M I C H E LE ’S L ATE ST WO R K , E AC H W ITH TH E I R D I STI N C T TA K E O N TH E G U CC I LO O K .
F R O M LE F T, F LO R E N C E W E LC H; A$AP R O C K Y; HA R I N E F F; JAR E D LE TO; A LE X A C H U N G; TO M H I D D LE STO N .
as building on his clear desire for inclusivity
and blurred gender lines.
The man of the moment appears, dressed
in a yellow T-shirt, baseball cap, his hair
cropped shorter than before at shoulder
length. He employs a staggered jog about
the various points of the catwalk to bow and
take in the standing applause of all present.
That sense of anticipation has morphed
into appreciation and rousing acceptance.
While a humble and quiet man, Michele is
very much the wunderkind of reinvention
who’s pushed the fabled house of Gucci into
a contemporary relevance that arguably rests
parallel to Tom Ford’s ‘sexy’ renaissance
period of the mid-’90s.
Today, he’s again surpassed expectation
and driven beyond surprise and answered
all questions. For he is fashion’s current king,
and his crown’s been more than retained.
I
am not feeling like a special person...
it’s not about me.”
While Michele is the chief architect
of change, his is not a story of
ownership or a tale of one man’s
singular vision pushing conformity.
He allows for the individual to add the
personal to his designs – to further interpret
and privately engage.
As the loftier ends of fashion look to graft
maintained aspiration into a greater sense of
accessibility – stepping down as dictators in
238 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
regards to the ‘how’ and ‘why’ – Michele’s
approach is very much nuzzled into the now.
It’s about freedom within luxury. It’s about
the luxury of freedom.
“I think that fashion, for a long time, has
been in a prison,” Michele’s previously said.
“I think that without freedom, with rules,
it’s impossible to create a new story... people
want you to suggest the idea that you can
really put together and create a personal
point of view. You have to belong to a brand
that has a story, because obviously a brand
needs an aesthetic. But you need also to
suggest the idea of freedom. Because when
you go in the street, people are free to do
what they want. There are no rules.”
Ultimately – it’s about artistry stitched
to singularity, a chance to pen a personal
sartorial narrative and break from what’s
previously been decreed.
It’s why, at the AW17 show’s official
afterparty, the fresco-ceilings of what
is an historic Milanese high school look
down over a crowd that’s interpreted
modern Gucci in many different forms.
Hiddleston’s at the bar – a bomber jacket
and dad jeans replacing his earlier suit, so
too latest Michele muse, the artist Petra
Collins. A$AP Rocky, meanwhile, is now
accessorising with a Polaroid camera (#smile)
and new girlfriend, Kendall Jenner.
Elsewhere stand ’80s UK punk types with
stalagmite-spiked hair, goths and drag
queens who’ve dressed as if destined for an
after-after steam punk party. In the corner,
sits a bolo-tied cowboy (#spaghettiwestern)
while young kids wander in wire, Unabomber
specs atop Gucci logo T-shirts.
There’s also a dude who looks like Rai
Thistlethwayte – but then there’s always
a dude who looks like Rai Thistlethwayte.
Michele has wandered several of the
adjoined rooms of the party – taking in the
crowd and the many strong words of ‘bravo’,
‘well done’ and ‘wonderful’ that are delivered
by those who stand and await his move past.
He smiles – a lot. And he’s every right to.
For tonight, for all that he’s managed to
achieve in just 25 months at the helm.
By 2014, Gucci had become staid. It was
predictable, unexciting. There was growing
concern about what the fabled Italian label
was to become – about what its future would
look like were it to simply plod along the
pocked path it had been walking. Sales were
on a dramatic decline.
Change was needed and three years ago,
scouts tapped all-comers about the top design
job – securing a shortlist of potential
candidates, a grouping of well-known types
who’d delivered elsewhere and would, at the
least, bring some fanfare to the Florentine
house founded by Guccio Gucci in 1921.
Michele’s name wasn’t on any of those lists.
He was a ‘backroom boy’ – having quietly
ascended, over 12 years at Gucci, to that of
head of accessories design (cue that eye for
some of the pieces now most coveted).
Still, his passion and talents hadn’t gone
unnoticed and so he came to the attention of
“I CHOSE
ALESSANDRO
WHEN I COULD
HAVE CHOSEN THE
MOST TALKED-
ABOUT DESIGNERS
IN THE WORLD.”
then newly appointed CEO Marco
Bizzarri. A meeting was scheduled.
Bizzarri’s since admitted their get
together was more a run through of
some of those he’d been eyeing off – though
he was quickly entranced by Michele, his
desires and historical quirks and honest,
passionate understanding of all that’s Gucci.
“It was unplanned,” Bizzarri’s said of that
meeting with Michele. “Someone said to call
him. They said, ‘he’s a good guy’.”
The pair talked for hours – Bizzarri also
engaged by Michele’s interest in antiques,
history and what he saw in the Milanese
designer’s apartment.
“He was wearing the loafer with the fur, he
looked like the first model exit in that [first]
Gucci show. Then I saw the apartment, the
attention to detail, the choice of furniture,
the passion for this aesthetic – it was there
already, I was seeing what he had in mind.”
Michele was named as Giannini’s
immediate replacement in January of 2015.
“I chose Alessandro when I could have
chosen the most talked-about designers in
the world,” Bizzarri’s said. “And they were
happy to come to Gucci because Gucci is
Gucci... I look back and think I was totally
crazy [with Alessandro’s appointment]. I put
in total danger, at total risk, my career.”
Risk. Without it great artistry surely
cannot  flourish. And so it’s been with Bizzarri
and Michele.
The latter had but five days to send down
his first menswear collection in the new job
– it was fresh, divisive, ultimately celebrated.
It quickly outed what Michele was about
and showed what he could do.
And it returned exciting commentary
to Gucci. Gender lines were fluid,
embellishment was back, so too florals –
Michele quickly feted under a swollen set
of plaudits.
“Gucci has revolutionised its identity,”
sprouted Australian Justin O’Shea at the
time, then a buyer for e-tailer MyTheresa
before his own rise to luxury designer. “It
sounds easy saying it, but to actually achieve
this is one of the most remarkable fashion
moments in history. And the best part about
it is that it was done with beauty and
innocent, unbridled conviction. It has excited
the old Gucci customer and captivated new
customers, who loved the ‘idea’ of what the
brand represents but never clicked with
the previous aesthetic.”
For the man who first became interested
in fashion as a teen – and then studied
costume design in Rome, the revolutionary
tag is farfetched.
“I don’t feel like that,” he’s claimed. “I just
feel like myself. If the revolution is the
beauty, I’m a revolutionary.”
Still, if the revolution’s monetary – then
Michele’s influence is Napoleonic.
Since he and Bizzarri took hold, Gucci’s
come to own the majority of the Kering
group under which it sits. That is, 65 per
cent of the group’s luxury-division profits
now come via the Italian label, Gucci’s last
quarter profits up an incredible 21 per cent.
Not bad for a recently rudderless outfit.
Part of such profit drive is Michele’s
embrace of the future – a want to appreciate
logos as well as digitisation in the
enhancement of the march of the cool.
While that doesn’t extend to an
immediate purchase model that’s now
attached to other runways – as in
Burberry, Tom Ford, Ralph Lauren
and others’ ‘see now, buy now’ model –
it’s meant encouraging the kids with
some hyped-up explosions of colour
and the collision of fun and aspiration.
It’s also meant a heady level of desirable
(read: re-postable) memes for the Gucci
watch line.
It’s about an understanding of popular
culture. It’s about being contemporary
while championing what’s gone before.
It’s surely about highlighting what is
a bright future. Though, as another
text-driven piece from the new AW17
current collection espouses: “What are we
going to do with all this future?”
Well, according to Michele, the coming
days are not about him.
“People don’t want to be soldier-like,
everybody wearing the same. There is
something of the tribe in fashion, but in the
end customers get a bit annoyed if you push
a particular bag. I’m a designer but also
a customer. I’m not inside a glass case. I go
outside, I shop. So I’m trying to make
beautiful things for people I love.”
Thanks Alessandro – we love you back. n
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 239
Wool coat, $3200,
by Emporio Armani;
Jacquard lurex top,
$1290, by Bottega Veneta;
wool pants, $960,
by Haider Ackermann;
leather shoes, $1720,
by Hermès.

CITY SLICK
B R IGHTEN U P CLASSIC SHAPES BY PAIR ING
N EUTRALS WITH BOLD POPS OF COLOU R.

P H OTO G R A P H Y PE R RY OG DE N S T Y L I N G TR EVOR STON ES

Cotton/viscose top, POA,
by Tommy Hilfiger;
cotton pants, $805, and
leather belt, $1015,
both by Hermès.
Cashmere/silk top, $1875,
by Ermenegildo Zegna;
velvet pants, $560,
by Paul Smith.
 Wool coat, $7550,
cotton shirt, $1260, wool
pants, $1260, all by
Louis Vuitton; leather
loafers, $1300, by Prada.
Wool coat, POA, and wool
jacket, $4090 (worn
underneath), both
by Salvatore Ferragamo;
cotton pants, $960,
by Valentino; leather
shoes, $1720, by Hermès.
 Wool jumper, $850,
and cotton pants,
$960, both by Valentino;
leather belt, $560,
by Emporio Armani.
Wool suit, POA, and wool
jacket (worn underneath),
POA, both by Hugo Boss;
linen shirt, $410, by
Emma Willis; leather
shoes, $1720, by Hermès.
 Wool coat, $4610, by
Gucci; linen shirt, $410,
by  Emma Willis; wool
pants, $790, by Dries Van
Noten; leather boots,
approx. $2630, by Berluti .
Corduroy jacket, $3580,
mohair turtleneck, $1110,
and corduroy pants,
$1180, all by Prada.
 Cashmere coat, approx.
$6760, velvet jacket, POA,
cotton T-shirt, POA, wool
pants, approx. $920, and
leather boots, approx.
$2630, all by Berluti.

Grooming Khela
at Call My Agent
Talent Christopher Einla
at 16MEN
Casting Director
Svea Greichgauer at
AM Casting Paris
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IN YOUR POCKET
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FIT
E D I T E D BY M I KE C H R I STE N SE N

THE GQ
GUIDE
TO

nailing
a Dad Bod*
FO R G E T W H AT YO U K N O W A B O U T T H I S P H YS I Q U E –
W E D R AW I N S P I R AT I O N F R O M S P O R T’ S TO P DA D S
TO S H O W YO U T H E B E S T WAYS TO E M B R AC E YO U R
N E W FAT H E R H O O D F I G U R E .
 1

FIT

I
1. MICHAEL CLARKE

10 OF
Future Australian captain
in the making? Clarkey
n theory, dad bods date back to shows us that there’s no
biblical times when “Jeshurun such thing as starting his
daughter too young.
grew fat” in Deuteronomy 32:15.

THE BEST
But despite the male species being 2. OWEN WRIGHT
on show in public places ever The Aussie surfer’s son is
since, the term was only coined yet to miss a stop on the
tour, and already has a
in 2015, by Mackenzie Pearson, an feel for the water. If it’s

SPORTING
American 19-year-old student who possible, the Wright family
thought a “dad bod makes [guys] seem might have another pro
surfer on their hands.
more human, natural and attractive”.
Now a phenomenon that applies to all 3. ANDY MURRAY

FATHERS
men, not just fathers, striving for ‘dad Six months after becoming
bod’ status is a refreshing change, and a dad, he won his third
grand slam. The Scot is
in an age where body shaming is rightly showing us all how to
slammed, it’s great to see the acceptance balance work life with
parenthood, kind of?
of all shapes and sizes.
Swimwear label Budgy Smuggler runs T H E SAY I N G G O E S, I T’ S E V E RY DA D ’ S
a competition to find ‘the Most Ordinary D R E A M TO H AV E A M I N I V E R S I O N O F 2
Rig’ and spokesperson Jarrod Allen H I M S E L F TO I N T R O D U C E TO S P O R T.
believes Aussies, especially, love a dad T H E S E M E N S H O W YO U H O W
bod. “People’s attitudes are changing FAT H E R H O O D I S K E E P I N G T H E M
and a lot of it has to do with the larrikin AT T H E TO P O F T H E I R G A M E .
in us, embracing the ordinary in
everyone and getting on with it,” he says.
“We concentrate on guys you can grab
a beer with over the bloke that spends
hours in the gym, looking in the mirror.”
New dads out there can take solace in 3
the fact that, according to a study done
by Northwestern Medicine, you will put
on a few kilos. And though you may feel
pressure to stay in shape, research by
British psychologists in 2011 suggests
women are attracted to such body types
when they anticipate being married to
a high-income man. (Good to know.)
Today, with ‘dad bod’ evolving to mean
any type of physique – be it a more
rounded Leonardo DiCaprio or a ripped
Chris Hemsworth – we’ve compiled our
own dad bod workout tips, to embrace
and achieve the ultimate ‘dad bod’,
whatever that should mean.

DAD BOD WORKOUT TIPS

*OK, WE ACCEPT CONOR MCGREGOR ET AL DON’T
1 . M IX U P TH E FOC U S 2 . S E E A S PEC IALI ST 3 . B E S E LF I S H 4 . DO N ’T STARV E 5 . CA R E LE S S 6 . E N CO M PASS
Dad or not, everyone Personal trainers A new parent’s achilles When it comes to pizza, Budgy Smuggler has F ITN E SS I NTO
is time poor these days, cost the earth so seek heel is often his or her beer and chocolate, ‘in the right attitude with FATH E R H O O D
so to keep motivated a one-off specialist inability to prioritise moderation’ isn’t ever its #OrdinaryRigAU 6-12 months: kettle bell
HAVE YOUR AVERAGE DAD BODS.

about exercise, change in a discipline you are ‘me time’ into the the magic phrase we search: “We sold out lunges and squats with
your focus and have keen to take up, like equation. A 20-minute want to hear. It’s a good of XL and XXL so knew your toddler have the
new challenges swimming. Grasp the run or workout is a guideline but if you can the message had been desired effect.
throughout the year. fundamentals then great antidote to the maintain a healthy, received. It’s great to 18-24 months: running
Spend a month training get them to map out daily grind – and is balanced diet and see blokes embracing with a pushchair in tow
for a 10km run, try a routine for a month crucial for everyone always keep yourself their bodies and not is great for endurance.
mountain biking or sign or so. You’ll soon realise involved. Encourage hydrated, then treating feeling the pressure 4+ years: surfing, footy,
up for a volleyball pushing yourself is your partner to do yourself won’t come from social media swimming, rugby, right
course – instead of better than some so too, without it with that feeling of to bust out crunches up until they become
sticking to one all year. super-fit PT doing so. sounding like a nag. guilt we often get. every morning.” much better than you.

2 52 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
 5 6
FIT
4. CONOR MCGREGOR
The UFC fighter seems to
like lifting his son in place of
a dumbbell. Note to Conor, FITN ESS GOALS W ITH N R L LEG E N D

SAM BURGESS
he’ll only get heavier. How
long do you think he can
keep this up, hey Floyd?

5. JONATHAN THURSTON
The NRL legend with
his No.1 fans, showing
how much post-match
priorities have changed.

6. MICHAEL PHELPS
Training for the Olympics is
gruelling, especially when it
comes to running with weights
on your back. But it’s less so
when it’s your beloved baby.

7. CRISTIANO RONALDO
Like father, like son. Now
with newborn twins too, we’ll Do your teammates The hardest thing
see if the Portuguese soccer give you stick about becoming
star can still keep up his
about getting a dad?
six-pack. We’re sure he can.
a dad bod now? I guess the early
Yes, a few of the months are
8. ROGER FEDERER younger players extremely hard
With four children, it’s like to comment with less sleep and
anyone’s guess how many ‘dad bod’ when the fact you have
times Federer has, and will, 7 jumping in the a little baby totally
be playing catch these showers. However dependant on you
days. This is a slightly we all know that now. Otherwise it
more extreme version. it’s just a myth. has been the most
Is there a stigma enjoyable ride of
9. CHRIS PRATT attached to my life.
Not a sports star, though dad bods that What has had to
he’d let us believe he was
is unfair? budge in order
once a fine American
Football player. That said, is Yes as I mentioned, to properly play
fishing really responsible for I think it’s a tag line out your role as
his body transformation? and there’s not a father?
much truth to it. I guess you could
10. MARK ZUCKERBERG Anyone given you say my golf game
Another non-sportsman parental advice? has taken a bit of
creeping into contention, A million friends, a back seat.
but this is how our children 8 dads, team mates What tips do you
will be playing sport in the and random have for regular
future (In virtual reality). strangers have dads who don’t
given me parental have fitness and
advice. However, exercise ingrained
I believe you find into their day job?
your own way. I think it’s
How has your daily important, as
routine changed new parents,
now that you’re that you find
a father? time to do things
At the moment for yourselves.
9
not a lot. It means If you’re lucky
I get in the bath enough to have
at the same time family close by,
every night with take the help
my daughter and and keep up
maybe I don’t your training.
need my alarm Or, you and your
clock anymore partner create
but we have an the opportunities
amazing little baby for each other to
girl who loves do ‘normal’ every
10 being outdoors. day activities.

S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 253

 FIT
SKILLS

HOW HARD
IS IT TO BE
A SPORTS
PHOTOGRAPHER?
S H O R T A N S W E R – V E RY. W H E N
E N G L I S H P R E M I E R L E AG U E G I A N T S

W
A R S E N A L FC W E R E I N SY D N E Y, G Q
W E N T P I TC H S I D E B E H I N D T H E L E N S .

hen it comes to sport, nothing

compares to watching it live.
The action, the drama, the
passion, it’s unrivalled. Enjoyed
from further away than you’d
ordinarily do so on TV, it
doesn’t matter because you can relive the winning
strike or controversial sending off online or in the
paper the next day. But have you ever wondered what
it’s like to be the person behind the lens?
After an end-to-end 90 minutes of fast-flowing DC: My world is about the gold seam and strike it
football, watching some of the best players in the moments – quick and rich. Sports photography
world, we can safely say we’d never appreciated how fleeting moments that are is about experience, vision
hard capturing the perfect photo in sport is. otherwise missed – but and good proper mental
Post game, and 5324-odd shots later (three of which brought into existence by preparation. The quality
were deemed print worthy), we spoke to legendary the physical photograph.  of imagery can be judged
GQ: How do you best follow and valued when these
sports photographer Delly Carr about his beloved
the game? factors of the equation
profession, and how we can improve our skillset.
DC: It is a ballet between my are calculated. The final
lens and those bright value of the image
GQ: What skills are that a sports photographer
necessary to be a good must try to anticipate,
baby-blue eyes of mine. increases numerically THE
HE
I look at the action bold and as these factors increase
sports photographer? react to, and live when they PRE-GAME
GAME

PHOTOGRAPHY: DELLY CARR, RICHARD BULLEY, AND EDWARD URRATIA .

tight. I invariably shoot with with age and maturity.
Delly Carr: A true sports
professional understands
are presented to us.
A photograph ‘fixes the
my ‘Nikkor 80-400mm’, GQ: And the greatest CHECKLIST
‘Nikkor 300mm F2.8’, or misconceptions? • Make sure your batteries
light, timing, exposure, moment’ of an event. In
‘Nikkor 600mm F4’ lens. DC: That once we get are charged and you have
composition and that moment, the
I feel like I am in another access on the field, and ample memory cards.
forethought. An athlete photograph preserves • Research the players
suburb when I put on have the right equipment,
forecasts their moments in what the eye might so you know who to
a wider lens. So, then I then it’s easy. That’s bull. photograph. And be in the
which they will anticipate, otherwise not capture.
have my left eye kept open It requires a lot in a world best position for the game,
react to, and live when the GQ: The secret to a good
and watching what’s of sport that is defined and to capture the best angles
set day of competition photo? What are you and the best action.
happening outside the restricted by sponsors,
arrives. The same moments looking to capture? • For an evening match,
border of what my right eye sporting bodies, where flood lights mean
views in the viewfinder at organisers, security, TV, the light remains constant,
Photos, like that moment. intellectual property of set the camera to the
this one, that following settings:
stick in our GQ: What are the biggest athletes and sporting
ISO 5000
minds, are mistakes of a sports organisations. Try being APERTURE F4
the result of photographer? creative in an environment SHUTTER SPEED 1/1000
countless DC: Sports photographers constrained by touch lines,
hours research NIKON ‘D7500’, FROM
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254 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17

 FIT

The
fit THE
list EVENT
Australia hosts its third
ever UCI MTB World
Championships
(mountain bike racing
for anyone not good
with sporting
acronyms), with both
cross-country and
downhill disciplines
taking place at
Smithfield Forest, just
north of Cairns. The
crazier, more daring
version of cycling, it’s
a darn sight more
exhilarating than a lot
of live sport and the
rules are fairly self
explanatory. We’re

THE
already hooked.
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S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU 255

 JAMES FRANCO, CONT. FROM P190
Sarah Silverman and Jonah
Hill took turns tearing strips off
him. Hill came on stage and
brought up the fact that a lot of
movie stars have a ‘one for them,
one for me’ approach – wear a
commercial job so they can work
on one they care about. “But not
my guy James. He has his own
philosophy,” Hill told the
audience. “One for them, five
for nobody.”
It’s a good line. And Franco
agrees that Hill had a point.
“I was adapting William
Faulkner novels and really dark
Cormac McCarthy necrophilia
novels,” he says. “I would do a
studio movie and then sometimes
I would even pay for movies I
wanted to do.
“There’s this idea that
producers are not about the art,
they’re just about the bottom
line. There’s some truth to that,”
he adds. “But if you have a
project that nobody will finance,
especially someone like me who’s
been in the business for 20 years
– that might be saying something.”
Dave is seven years younger,
but James credits him as a
positive influence. “He’s a lot
wiser and more discerning, more
practically minded,” he says.
“He’s the perfect antidote for my
artistic recklessness. One of the
things he’s taught me is to work
on projects that are right for us
and are meaningful. By doing
that, we will do our best work.”
Work has always been Franco’s
drug. He hasn’t touched pot
since high school. But it’s easy to
imagine that without enough
projects to keep him distracted,
that shy teenager might come
back. The one who parties, gets
into trouble. After all, they say
you never kill an addiction – you
just replace it with something else.
“There you go, dude, that’s
exactly what people do,” he says.
256 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
“It is so hard to wake up
to [addiction]. It’s so hard to see
it. I thought I was living the life
I always wanted to live. When I
finally did wake up, I was
completely isolated, emotionally,
from everyone around me.
“Whatever your religion or
non-religion is, I truly believe
we’re all looking for the same
thing. We all just want to be
happy or feel like we’ve
contributed. And I’ve found that
is synonymous with being
present. That’s what I didn’t have
before – when I was doing five
billion projects at once, I was
everywhere but present.
“The curse of that is that
I actually couldn’t enjoy my
success. I was nominated for an
Oscar, I was working with all my
heroes. All the dreams I’d had as
a young man had come true. And
I still couldn’t enjoy it. It was
never going to be enough.”
For the first time in as long as
he can remember, Franco is
finding time for himself.
“It’s really weird but this year
had been the self-care year,” he
says. “I was playing tennis today
and if you looked at my life six
months ago, you would never
have seen me doing anything
like that. What I love about
things like playing tennis or
learning to surf is I don’t need to
be a professional at them. I can
just do it because I enjoy it.
Wow. What a concept!
“I’m sure everybody has shit
like this to learn,” he adds. “And
it seems to me like I’m learning
lessons a lot of people learned
when they were 18. But
whatever. Better late than never.”
We might never really know
who the real James Franco is.
And it might not even matter.
But like all of us, he’s just trying
to find his way in life, feel
comfortable being alone with
himself. He’s not there yet, but
he’s working on it.
“I’m feeling a lot better, dude,”
he says, almost to himself. “I can
honestly say I’m really happy.”
And, for now at least, maybe
that’s enough. n
The Deuce airs on Showcase and
Foxtel Now from September 11
FAKE NEWS, CONT. FROM P199
“The most important element
is transparency,” explains Qiu
of her fact-checking methods.
“Showing your process by
using publicly available data
and on-the-record quotes helps
readers understand the logic.
I also always attempt to reach
out to the original speaker to ask
them for evidence backing up
the claim. The burden of proof
is on the speaker, and if they can’t
provide a good source, that’s
a red flag.”
Following her electoral loss,
Hillary Clinton singled out
Facebook, in particular,
claiming ‘fake news’ stories on
the social network had affected
the information voters relied on.
After the election, Mark
Zuckerberg said it was “crazy”
to conclude that ‘fake news’ on
the platform had influenced
the outcome. Nevertheless,
Facebook responded to
accusations that it facilitates the
spread of misinformation.
“We’re building, testing, and
iterating new products to limit
the spread of false news and help
people find a more diverse range
of topics, news stories and
viewpoints on Facebook,” says
a Facebook representative.
“Our most recent measures
include updating News Feed to
reduce stories from sources
that post ‘click bait’ headlines.
We’ve also recently announced
an additional update to the
News Feed aimed at reducing
the number of links to low-
quality content such as
sensationalism and
misinformation.”
Earlier this year, Facebook
also helped establish the News
Integrity Initiative, “a global
consortium focused on helping
people make informed
judgments about the news they
read and share online.” A
Facebook representative tells GQ
it has also funded news literacy
research in Australia.
When it comes to refuting
misinformation, Qiu says her
fact-checking articles tend to
follow a pattern that makes it
easy for readers to digest.
“I first state the claim with
a brief description of accuracy –
‘this person falsely said this’ or
‘the claim was this, but this
needs more context’ – usually
bolded or as a subhead,” she says.
“In the body of the fact check, I
try to provide context for when
and to whom the statement was
made or at least link to a
transcript or video. Then I
devote a few paragraphs
explaining why it’s false or
misleading.”
Qiu points out this can also
often include using information
that is technically accurate,
but misleading – outliers on
a data set, for instance. Those
who disagree with climate
change often use this technique
to cherry-pick data that fits their
view that the planet is not
getting warmer.
Since it’s so difficult to change
people’s belief in misinformation
once they have been exposed
to it, Prof Lewandowsky is part
of a group of researchers
attempting to discover a fake
news ‘vaccine’ that can inoculate
people against misinformation
before they receive it.
“The basic idea is that you tell
people ahead of time that they
might be misled or exposed to
false information,” he says.
“We’ve found that it nullifies
misleading information or, at
least, reduces it dramatically.”
One of his studies focused on
the tobacco industry’s previous
attempts to cloud scientific
consensus on smoking and
cancer. “We gave [participants]
a story about how this happened
in the ’50s and the techniques by
which people were misled,”
he says. “Then we presented
them with similarly misleading
information about climate
change and we found that it no
longer worked – that misleading
information was basically

neutralised by telling people
about the techniques that are
employed by politicians or
whoever it is.”
While inoculating people
against misinformation can be
useful, Prof Lewandowsky says
at least some responsibility lies
with the reader. Being aware of
dubious or misleading
information is the first step.
“Generally, people who are
sceptical and who look critically
at the evidence can do very well
in discerning what information
is true and what isn’t,” he says.
“Scepticism is a good thing. But
it’s important to point out that
scepticism doesn’t mean that you
just disbelieve everything – it
means looking at the evidence
and that you believe things
supported by evidence.”
Some have called this the
post-truth era, a world in which
discussions of issues are defined
not by facts, but by feelings.
British Conservative politician
and Brexit campaigner, Michael
Gove, said last year that people
“have had enough of experts”.
This new ecosystem, former
President Barack Obama told
the New Yorker, “means
everything is true and nothing is
true”.
But evidence does matter.
Expertise matters. Facts matter.
Ultimately, the responsibility for
being well informed rests not
with companies but individuals,
to question information and seek
out sources that confront, rather
than confirm, our existing
points of view. If there is some
comfort to be taken from the
research of people like Professor
Lewandowsky, perhaps it’s that
the most important lesson in the
fight against fake news is also
the simplest – don’t believe
everything you read. n
BACK TO BAGHDAD, CONT. FROM P232
A short ride later, we’re thrust
inside a gaudy, endless array
of rooms – each impeccably
furnished with marble and
chandeliers. Al Muderis signals
that he’s been inside the palace
once before, a sort of child prop
for a ceremony held for Saddam
Hussein. In a large room off
a main corridor, the Iraqi-
Australian finally meets the man
who’s invited him back.
Stoic and gentle, Haider
al-Abadi probes with questions
on osseointegration. He queries
the safety of the procedure,
and marvels about the
remarkable way in which
bone fuses to titanium.
“Have you seen The
Terminator?” asks Al Muderis.
Al-Abadi looks lost.
“What about RoboCop, have
you seen RoboCop?”
“Yes, yes I have.”
“It’s just like that.”
The Prime Minister’s primary
focus seems firmly set on the
personal wellbeing of the injured.
“It’s very important for them
to feel like they’re back to
normal again.”
The embattled Prime
Minister’s eyes go warm and
bright when Al Muderis pulls
out a laptop and shows him a
short clip of a once wheelchair-
bound patient walking again.
“He’s an Iraqi, he trained
in Baghdad, and he’s willing to
help his fellow Iraqis,” the Prime
Minister later tells GQ. “Every
Iraqi is proud of him. He shows
that Iraqis are very resilient.”
Stepping back down the palace
footsteps, Al Muderis closes his
eyes and, for a moment, takes in
the heat. The surrounding
gardens are pristine and
manicured, the rendered walls
a warm, saturated beige. An
armoured SUV pulls up and
the moment is gone.
On his final night in Baghdad,
Al Muderis is granted a rare
treat – a glimpse of Baghdad,
the real Baghdad, past the Green
Zone. Owing to the fact that
he was an invited guest of the
Prime Minister, his handlers
have erred on the side of
extreme caution at all times.
As such, this excursion in an
armoured SUV is accessorised
by a military motorcade – the
head of which is a Land Cruiser
packed with Ministry of
Defence officers, each
brandishing an M16 rifle.
Following a brief presentation
to a group of orthopaedists,
Al Muderis sits in a sprawling
restaurant set on the banks of
the Tigris River. The eateries
and bars that line the waterway
are where Baghdad comes to
socialise – dinners stretching
into the early hours of the
morning as locals take in the
cooler temperatures, a welcome
respite from the sun’s harsh heat.
As a child, Al Muderis used to
swim in the Tigris, taking
courage from his older, brasher
cousin. His childhood home sits
just up the river. From there,
he’d take strolls along the water
with his mother and father.
Appetites eventually sated,
the cavalcade folds back into the
Green Zone at a glacial pace –
security, naturally, is far slower
on the way back.
Before leaving Iraq, Al
Muderis delivers the opening
speech at TEDxBaghdad. To
the organisers’ surprise, he
insists on presenting in English,
telling the story of his journey
from Baghdad to Australia, and
back. “Things have changed in
this country. I’m very pleased to
see that this place is way better
than when I left it.”
He ends the speech with,
“God bless you all,” and it
doesn’t feel the slightest bit
disingenuous. If you looked
closely during the live
performance of the national
anthem that opened the event,
you could see tears crawling
down the doctor’s face.
At the conclusion of his talk,
Al Muderis is mobbed by
S E P TE M B E R/OCTO B E R 20 17 G Q .COM . AU
admiration and mobile phones.
A disorderly queue forms, and
20 minutes of fan photos quickly
pass. “This is crazy,” he says,
between selfies.
Al Muderis’ grin only ends on
being firmly told by a prime
ministerial delegate that he’s
a flight to catch.
At Baghdad International,
with the group out of earshot,
the delegate gently mentions
that, a night earlier, at the
precise moment we re-entered
the Green Zone, a car bomb
detonated a few suburbs over.
“It used to be one or two
attacks a day,” he says. “It’s much
better now, maybe only once
every week or two. It’s safe.”
As Al Muderis prepares to
depart, one final hurdle presents
itself – baggage allowance.
The vast stack of patient x-rays
weighs in at some 20kg – barely
fitting into his luggage. They
are the images he’ll need to
further assess the next steps for
each patient.
The same delegate snaps his
fingers, disappears momentarily,
and presents an appropriately
rugged solution. The images,
carefully collected, are now
double bagged in industrial-
strength garbage bags.
Everything in place, Al
Muderis is fed from the private
lounge, back into the armoured
Mercedes, bound for his flight.
“I’m still in shock,” he says as
the car crosses the runway.
Sure, in this moment, he still
feels decisively more Australian
than Iraqi. But the cultural
ledger has tipped a fraction
– like a compass eventually
creeping back to True North.
Some roots, maybe, are too
deep to pull.
On the tarmac, he clutches
the garbage bag full of x-rays
close to his chest. They’ll act
as a map – a raison d’être – back
to Baghdad, in a few months
time. Al Muderis then boards to
business class, and the Australian
departs, an Iraqi again. n
2 57
 lifestylecollection
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BLAAX
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These classic hand sketched
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 lifestylecollection
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BROTHER WOLF BARBER
In times past, the barber shop was the social
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 afterhours
THE ALEHOUSE PROJECT AREA STUDIO
Melbourne CBD's leading men's
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THE GENTLEMEN'S GLASSHOUSE

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COOKIE
A longstanding Melbourne
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 Denim/shearling jacket,
$3785, by Gucci;
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2 62 G Q .COM . AU S E P TE M B E R/OCTO B E R 20 17
 GQ PROMOTION

DIRECTORY
THE MODERN MAN’S DEFINITIVE GUIDE TO ESSENTIAL SHOPPING AND SOPHISTICATED STYLE.

B ROGU E ON E
ADVE NTU R E TI M E
Reader, meet ‘Jorge’. Jorge, meet reader. He’s a bit of a
Breitling has crossed oceans traditionalist, old Jorge, though he doesn’t always stand
of time, in a metaphysical on ceremony. Sporting saddle stitching, wingtips and toe
sense, to bring you a roses, this brogue is cool enough to kick around with the
stunning reinterpretation most fashion forward in just about any occasion. Could
of its ‘Superocean Héritage’ be the start of a beautiful friendship. lluisshoesco.com.au
line. Inspired by seafaring
adventurers of yore and
the modern-day explorer
in us all, the new face of the
‘Superocean Héritage II 42’
(pictured) is as pure and
dynamic as ever, and boldly
fronts a high-precision,
reliably robust, self-winding
movement endowed with
a 70-hour power reserve.
breitling.com

LESS IS MOR E
In an ever-increasing world
of nifty and smart appliances,
sometimes smaller is better,
or at least more convenient.
Lightweight and compact but
packing a hefty caffeinated
kick, the ‘Essenza Mini’ is
Nespresso’s smallest-ever
coffee machine. Offering
EX TE N D YOU RSE LF two programmable cup sizes,
it makes coffee the way you
That stretchy Fantastic Four bloke could do with a few
like it. nespresso.com.au
pairs of Calvin Klein’s ‘Customised Stretch’ boxers…
and so could you. Made from 90 per cent cotton and
instilled with four-way stretch and recovery properties, AI R TIM E
they’re light, soft and super comfortable. Find them STAR TECH
at Calvin Klein retail stores and davidjones.com.au Engineered for precision The innovative HP Spectre
control, superb handling, takes laptop technology to
ultra-fast speed and supreme a whole new and luxurious
style, the Dyson Supersonic level. With impressive
DAVI D B ECKHAM hair dryer is the Ferrari performance and slick
If you’ve ever wondered what of styling tools. Its powerful functionality, housed in an
David Beckham smells like digital V9 motor is in the impossibly slim 10.4mm
(and really, who hasn’t?), handle, not the head, for design, power never looked
ponder no more. He smells great balance, while its so thin. hp.com.au/spectre
of ‘Respect’. More specifically, heat control measures air
grapefruit, watermelon temperature 20 times per
and pink pepper combined second to avoid heat damage
earthily with cardamom, and protect your hair’s
lavandin, basil, patchouli, natural shine. Now available
vetiver and moss. It’s layered in nickel/purple and found
and surprisingly complex. at David Jones and Myer.
chemistwarehouse.com.au dyson.com.au/supersonic

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