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Photographed by Cameron Krone
Fashion Editor: Michael Bargo
Yves Saint Laurent blazer, Marc Jacobs cashmere sweater and long johns,
vintage belt.
LEFT: Yves Saint Laurent blazer, Prada tank, vintage nightshirt, Philip
Crangi bracelet, stylist's own scarf.
RIGHT: Tom Ford pajamas, vintage straw hat.
Yves Saint Laurent blazer, stylist's own scarf.
The Elder Statesman sweater, Thom Browne shorts, stylist's own scarf,
Christian Louboutin shoes.
LEFT: Marc Jacobs blazer, Burberry Prorsum shirt, Thom Browne suit,
Christian Louboutin shoes.
RIGHT: Yves Saint Laurent blazer, Hermes trousers, Marc Jacobs tank,
Azzedine Alaia vintage shorts, vintage belt, Tom Ford pocket square.
LEFT: Yves Saint Laurent blazer, Marc Jacobs sweater and long johns,
vintage belt, The Sock Man socks, Christian Louboutin shoes.
RIGHT: John Varvatos cardigan, Philip Crangi for Jason Wu necklace.
Burberry Prorsum coat, vintage jacket, Marc Jacobs cardigan, Prada shorts,
Hermes belt, Tom Ford hat, Philip Crangi necklace, The Sock Man socks,
Christian Louboutin shoes.
LEFT: Vintage kimono, Yves Saint Laurent pants, Christian Louboutin shoes.
RIGHT: The Elder Statesman sweater, stylist's own scarf.
John Varvatos cardigan, Prada tank, Saved long-sleeve t shirt, Azzedine
Alaia vintage leggings, Philip Crangi for Jason Wu necklace, Miu Miu gloves,
Christian Louboutin shoes.
LEFT: Tom Ford bathrobe.
RIGHT: Tom Ford bathrobe, Thom Browne pants, Christian Louboutin shoes.
The Elder Statesman sweater, Thom Browne shorts, vintage umbrella,
Christian Louboutin shoes.
Fashion Assistants: Julian Louie and Alexandra Ben-Gurion.
Photo assistants: Columbine Goldsmith and Chris Arzt
Makeup: Manase Latu
Hair: Eloise Chung using Kiehl's
Produced by Ida Sandberg
Model: Brad Koenig at FORD
Set design: Anne Koch at CLM
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VICTOR VICTORIOUS
PHOTOGRAPHED BY BARNABY ROPER
I’ve seen Victor Glemaud out for years at fashion functions, gay bars and late night hot spots,
but I never knew exactly who he was or what he did. Always impeccably dressed, usually
with a cigarette in one hand, cocktail in the other and scandal pouring out of his mouth in
an international jet set accent.
I’ve heard whispers of work at KCD, Tommy Hilfiger and his own eponymous line of knitwear.
But what was the real story?
Then one weekend I was invited out to the Chelsea, a new hotel in Atlantic City with
a club created by the Beatrice Inn boys. We spent a wild night featuring dance party mayhem,
naked English boys rummaging through room service platters and a sunrise on the beach in
golf carts. The next afternoon I found myself laid out by the pool where Victor was holding
court with Hanuk and other Beatrice buzzworthy boys. It was high time I got the bottom of
the legend of Victor Glemaud.
Born in Haiti, he moved to New York City with his family when he was three. He kicked off his
career as Patrick Robinson’s design assistant and later became a public relations guru at KCD
handling clients like Versace, Alexander McQueen and Gucci. Today he burns the professional
candle at both ends. He’s a menswear designer for Tommy Hilfiger as well designer of his own
line. Launched in 2006, Victor, always fond of a smart cardigan, began cutting up his father’s
old sweaters and created his now signature double cardigan. Victor is constantly inspired by
the smoldering looks and chic swagger of French 60’s film icon Alain Delon. His line has steadily
grown, garnering attention from stores such as Odin and Colette. Keep an eye out for Victor
this fall; he’s working on a new collaboration with Earnest Sewn.
-CATOR SPARKS
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WHAT ARE WE POOR POSH BOYS TO DO?
There once was a time when the banking set could throw down a platinum card and buy wheelbarrows-full of clothes that looked good but didn’t necessarily survive the season – or a second trip to the cleaner’s. This, we thought, was sartorial luxury. But the days of disposable income have long since passed and we’re scrambling to redefine what luxury – and our wardrobe – really means.
In tackling this sartorial conundrum, some designers have gone traditional, while others have gone preppy, while still others have gone lesbian. (This season, it seemed that if you didn’t want to look like a Stasi agent, a Vulcan officer, a hunter-gatherer, Rick Astley, or some variation thereof, then the runways weren’t for you.) But Antonio Azzuolo, previously the design director at Ralph Lauren Purple Label, and a menswear designer at Hermès, has spent the better part of a lifetime thinking about luxury and what it really means.
When we met for brunch at the second restaurant of our choosing (the first was shuttered with a heavy iron gate, the latest victim of economic circumstances), I was wearing a tattered blue button down shirt I’d inherited from my father, washed so many times that the fold in the collar had worn through. Azzuolo pointed to the shirt admiringly. This shirt – exposed white neckband and all – seems to be an embodiment of the luxury he’s thinking about, and the collection he’s designed.
Born in Montreal to Italian parents – both his mother and father were tailors – Azzuolo lived in a modest community where, as he describes it, “everyone wore bespoke suits, and there was a tailor on every street corner.”
“Growing up in that environment,” says Azzuolo, “there was a ceremonial aspect to dressing, a respect that doesn’t seem to exist on the streets of Manhattan.”
Having moved to Europe when he was 24 years-old, Azzuolo saw a discrete, refined elegance on the streets of Naples and Paris. En tres dimanche, the French call it – dressed in your Sunday best – a slightly condescending term, though when Azzuolo uses it, the condescension’s been replaced by a sense of longing and nostalgia. “You’d see old men who’d been wearing the same suit for many years,” he says. “The trouser-cuff would wear out, the jacket would be mismatched, the sweaters would be the wrong color, the coordination would be slightly off. But still there was a respect for oneself and one’s clothes. They always looked together, and I found inspiration in that.”
Azzuolo’s fascination with vintage clothing and old-world craftsmanship, along with his aesthetic of bringing European elegance to the Lower East Side (rather than bringing Lower East Side “elegance” to the runways of Europe), seems to pervade his collection. What appears is Azzuolo’s unique take on menswear, layered ensembles of grandfather shirts and alpaca sweaters and Donegal tweed coats – looks that, at the hands of a lesser designer, might seem confusing. Though this season’s collection features lots of fur and cashmere, it’s recycled fur – a holdover from his Montreal upbringing – and cashmere that could be your one great sweater, forming the core of a dignified outfit, no matter what the economic climate looks like.
Essentially, Azzuolo prefers to add to a wardrobe rather than redefine it. By focusing his collection on specific items (last season, it was sweaters; this season, coats), Azzuolo interprets luxury as having one good thing rather than many expensive things. In doing so, he has managed to redefine luxury as a necessity.
-MARTIN MARKS
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