Hot and Covered...The World's Most Stylish...Bands

The Raconteurs

His other band's music may be better, but with these guys Jack White (second from right) at least dresses like a normal person—a normal person with a thing for well-tailored workwear, anyway. His bandmate Brendan Benson (kneeling), meanwhile, pairs the occasional contrast-collar shirt with smart blazers and jeans. As for bassist Jack Lawrence (far left) and Patrick Keeler (far right), when they're not telling sonic tales with the Raconteurs, they split their time with the equally stylish (and underrated) Ohio group the Greenhornes.

Photo: Stephen Berkman

Vampire Weekend

Let's face it: These guys' half-serious, half-jokey Graceland-inflected world pop would be pretty darn annoying if it weren't so well executed. Same goes for their clothes. While their sound is all anthro-class Soweto, their look is vintage St. Paul's: rep ties and shawl-collar sweaters, oxford-cloth button-downs, and beat-up Barbour coats. Not very rock 'n' roll, admittedly, but walk down any block in Williamsburg or Silver Lake, and you'll see they've struck a chord.

Photo: Vorasi

Nick Cave & the Bad Seeds

Okay, when we say Nick Cave & the Bad Seeds, we really mean just Nick Cave. And while he may not be blessed with the loveliest of voices, the man makes the most of what he's got. Same's true in the realm of aesthetics: Cave's not the handsomest guy in the room—or, hell, the handsomest guy in his band—but the charismatic front man wears bespoke with unrivaled authority. He keeps up the routine offstage, too: Cave recently claimed he dons a suit every day in the studio.

Photo: Courtesy of Nick Cave & the Bad Seeds

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Beirut-Into a different period of time

"Condon coos these heart-broken serenades and intoxicated ballads in a liquid vibrato moan somewhere between Thom Yorke and Antony Hegarty."

Beirut is the band of 22-year-old Santa Fe native Zach Condon. The band's first official release was assisted by Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw) and Heather Trost (A Hawk and a Hacksaw); it combines elements of Eastern European and folk sounds. Condon plays the trumpet and the ukulele as his main instruments, having been unable to play guitar because of a wrist injury that prevented his hand from reaching fully around the neck of a guitar.

Though young, Condon has already released a few albums. He recorded under the name The Real People when he was 15, making The Joys of Losing Weight, which is a lo-fi electronic record (ie, generally in the style of 'Scenic World' on Gulag Orkestar) fashioned consciously after The Magnetic Fields. At 16, he recorded an entire doo-wop album that was inspired by Frankie Lymon & the Teenagers. Zach also released a three-song EP titled "Small Time American Bats" under the name 1971. The album was recorded in 2001-2002 and has never been officially released. Condon attended Santa Fe High School, where he was a student until he dropped out at the age of 16 to travel Europe (with his brother Ryan Condon) where he was first exposed to Balkan gypsy music, notably including the Boban Marković Orchestra and Goran Bregović.

Gulag Orkestar (2006)

EP-Lon Gisland (2007)

Flying Club Cup  (2007)

While there's little in the way of pop/rock influence in Beirut's instrumental approach, Condon sings in a low warble that recalls the Magnetic Fields' Stephin Merritt, showcasing his unrestrained flair for drama on tracks such as the tense "Brandenburg" and the swooning "Scenic World." Effectively displaying Condon's considerable abilities, GULAG ORKESTAR is a fully formed first outing that is sure to appeal to many fans of ornate and adventurous indie-pop.

A great choice after a rough day of work.

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

20 of the late, great actor's top style moments-whether on the water, on camera, or smuggling a'stache through the airport.

California, 1955

A sign of true style: The man dressed well even before he was famous.

Photo: Hulton Archive/Getty Images

Cat on a Hot Tin Roof, 1958

Here's a little dose of history for those of you who thought Pete Wentz invented the half-mast tie.

Photo: Courtesy Everett Collection

1958

A note to all our designer friends: If you're looking for inspiration for your Spring 2010 collections, start here.

Photo: John Kobal Foundation/Getty Images

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

Circa 1960

Proof that the Mad Men look wasn't the only game in town back then.

Photo: Alan Band/Keystone/Getty Images

Hud, 1963

The character's dad put it best: "Oh, you got all that charm goin' for ya. And it makes the youngsters want to be like ya."

Photo: Courtesy Everett Collection

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

Torn Curtain, 1966

If this wasn't Hitchcock's finest film, it certainly wasn't the fault of the folks in Wardrobe.

Photo: Courtesy Everett Collection

Cool Hand Luke, 1967

What we have here is...the only man ever to make working on a chain gang look almost fun.

Photo: Courtesy Everett Collection

Filming Rachel, Rachel, Florida, 1967

Directing your first feature is hard work—not that you'd know it from this shot.

Photo: Mark Kauffman/Getty Images

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

At the 1968 Democratic National Convention in Chicago

Politically minded youngsters take note: It's perfectly okay to yell like a hippie without actually dressing like one. (And, yes, that's Arthur Miller in the background. The sixties were awesome.)

Photo: Lee Balterman/Time & Life Pictures/Getty Images

Butch Cassidy and the Sundance Kid, 1969

With apologies to Chaplin (not to mention The Dude), this may be the best cinematic bowler of all time.

Photo: 20th Century Fox/Courtesy Everett Collection

With Joanne Woodward, London, 1969

Proof that no man was immune to Swinging London.

Photo: K. Britten/Fox Photos/Getty Images

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

The Sting, 1973

Sometimes it all comes together: great scene, great costume, great facial hair.

Photo: Courtesy Everett Collection

On set of The MacKintosh Man, London, 1973

If only this movie were as good as the clothes.

Photo: Getty Images

The Towering Inferno, 1974

This ur-disaster flick starred three style icons: McQueen, Astaire, and Newman, who, as shown here, didn't break a sweat.

Photo: 20th Century Fox/Courtesy Everett Collection

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

Slap Shot, 1977

Hey, you gotta match the costume to the part—in this case, loud, proud, and gleefully profane.

Photo: Courtesy Everett Collection

The Verdict, 1982

The performance? A model of restraint. The suit? Likewise.

Photo: Courtesy Everett Collection

Heathrow Airport, London, 1984

How to wear a 'stache: with panache.

Photo: Mirrorpix/Courtesy Everett Collection

Hot and Coverd...GQ: SPECIAL PAUL NEWMAN EDITION

The Color of Money, 1986

He may have been a couple decades older, but Fast Eddie looked just as good in a suit as he did in The Hustler.

Photo: Buena Vista Pictures/Courtesy Everett Collection

Road to Perdition, 2002

Aside from the meticulously researched costumes, Newman's commanding performance was the best thing about Sam Mendes' thirties gangster flick.

Photo: Courtesy Everett Collection

In New York, later in life

Once a man of style, always a man of style.

Photo: Peter Freed/Corbis

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The Heart Strings-Try Fly Blue Sky (2008)

"A beautiful, fun and diverse as the city they call home."

Judging a book by its cover (or, in this case, a band by its name), I expected the Heart Strings to be an overly emo and whiny group bent on, well, tugging at listener’s heart strings. And although the band sometimes does just that, this London-based quartet is versatile, citing everyone from Guns ‘n’ Roses to Ben Folds Five as influences and creating music that is both smooth and catchy with upbeat blends of brass and piano.

“He Wanted to Fly and He Flew” is perhaps one of the band’s more inspirational songs. The story that the lyrics tell is simple: a guy overcame adversity. But the instrumentation gives the song more complexity, as it begins with the tinkle of a xylophone and becomes more and more layered until the song’s climax. By the end of the song, the Heart Strings are showing off their stripped-down side again with a few simple piano chords.

The Heart Strings certainly have a quirky side. “Mariana” is about a man falling for a woman who works at a “greasy spoon.” Again, the band lets the music wax and wane; the chorus of brass and swelling voices of background singers would make you think this is a song about the most epic love story known to man. In reality, the song’s narrator describes his relationship with Mariana by singing, “She served me my pies with wanton brown eyes.”

The Album suitable for People live in center … there’re happiness.

Porta's Eyes...The Opening Oct.08

There is a new phenomenon in men's fashion, and I call it the new modern classic. This look is being poshed forword by men of my generation (I'm turning thirty-three this year).

Right now, in the world of fashion, there is over-consumption. People who really love and are dedicated to their own style don't buy for the surface, and they are fed up with fashion being so mainstream-they don't want fashion to simply be about the newest look from the newest season.

I think now to buy somthing more long-term, somthing more personal to them-and they don't want to dress ridiculously. A few years back, in fashion you were not talking about age, because everyone looked the same. You saw fifty-year-old guys in baggy pants trying to look like school kids. We've had a long period of people dressing very street. Everyone, regular guys especially, loves to dress well, but when you become involved in fashion, people expect you to be flamboyant.

And for a long time, regular guys have been presented with fashion that looked very androgynous. So, now, there's a reaction against street style, but there's also a reaction against more androgynous styles. Many guys want to be classic, masculine and chic again.

They become inspired by Steve McQueen - he's a stereotype, but also a very real example of someone who was very well-dressed. Also Cary Grant, in North by Northwest. He dressed very cool - his button-down shirt was a bit looser, that sort of thing...

For a more classic, masculine look, it's all about how you mix your wardrobe. You wear a chino, but you wear it in a very classic way: pull the pant hight to make it shorter. Then you add a nice shirt from, say, Thom Browne, and then you fine a new, modern tie, and then top it off with a jacket with a more modern cut. You put there things together, and you have a modern silhouette.

Hot and Covered...Remembering Paul Newman, Humanitarian and Actor

The Method

Actor Paul Newman died Friday, Sept. 26, at 83, after a long battle with cancer

In the decade after World War II, three soulful studs went from Broadway to Hollywood. Marlon Brando, James Dean and Paul Newman became movie stars in the 50s and helped revolutionize the craft. Of these three, way back then, Newman seemed the least unique. He wasn't Brando, though he had studied at the Actors Studio and starred on Broadway in a Tennessee Williams play. He wasn't Dean, though he nearly played Dean's brother in Elia Kazan's East of Eden.

But unlike the other two, Newman stuck it out. Instead of leading his talent in weird and wayward directions, like Brando, or smashing it to pieces on a California highway at 24, like Dean, he just kept getting better, more comfortable in his movie skin, more proficient at suggesting worlds of flinty pleasure or sour disillusion with a smile or a squint. And of the three, he was the most conventionally gorgeous. How many teenage girls had that famous poster of Newman — his face in monochrome, his eyes a startling sky blue — tacked to their bedroom walls?

Then Newman did something really remarkable: he sustained that early promise for five decades. He grew old and gray but not fat and cranky; he was recognizably, at any moment in his film career, Paul Newman. He did cool things well, like racing cars, and made doing good seem cool, with the Newman's Own brand of foods that has donated about $250 million to charity. His politics remained responsibly liberal; his public voice retained its wit and equanimity. He deprived the tabloids of the scandal headlines they love: no rap sheet, no rehab stints, no notorious affairs. And no messy divorce; indeed, no divorce at all, once he became a public figure. He married Joanne Woodward (his second wife) in 1958; this past January they celebrated their golden wedding anniversary. He was the movie star who could have been your prized next-door neighbor. To a great extent, the image had to be the man. That's why Newman, who died Friday at 83 after a long battle with cancer, was not just the iconic movie star of his age — he was one of the last public figures to lead an exemplary life.

Mark Kauffman / Time Life Pictures / Getty

Hot and Covered...The New Sartorialists

Band of Outsiders' Scott Sternberg, left, Adam Kimmel, Thom Browne, Michael Bastian and Taavo Somer of Freeman Sporting Club, all wearing their own designs.

In the late 1960s, Calvin Klein and Ralph Lauren, two outsiders from the Bronx who dreamed of making it big in the fashion industry, started their companies. Both eventually created megabrands that took American style global and defined what it means to be successful in fashion.

Klein infused his brand with an unprecedented sexuality that now dominates the marketplace. He sold his company to Phillips–Van Heusen for $400 million in 2003. Lauren introduced lifestyle branding before the concept had a name, turning his notion of American splendor into a worldwide corporation with revenues of $4.9 billion in fiscal year 2008. Not bad for two wide-eyed sons of the Bronx.

Forty years later, a new generation of American menswear designers has emerged with a collective strength not seen in decades. And while Klein and Lauren remain legendary influences, their heirs are altering the model of success that was established before them: where their predecessors thought mega, this new group thinks micro.

The designers featured on these pages are marketing their personal brands of cool, initially driven by their own sartorial needs rather than a desire for global fashion influence. Having come to fashion not from design schools but from successful careers outside the industry, they count a Hollywood veteran, an architect and a former actor among them. They began by making clothes that their equally creative friends wanted to wear, conceiving their businesses the way MySpace users create profiles, reflecting their environments and tastes.

"It's artisan vs. corporate," says Tom Kalendarian, men's fashion director at Barneys. "Think of them as tailors, not designers. Give or take a few surprises, there's a lot of predictability out there. Men are looking for the idiosyncratic."

Combining contemporary imagery with timeless ideals of masculinity, these five rising menswear stars are creating conventional clothes for the not-so-conventional modern man.

Josh Rouse-The Best Of

"He's got a nicely scorched voice and some hummable melodies to match it."

Nebraska-born singer-songwriter Josh Rouse, who started his recording career after moving to Nashville, began in an organic, rootsy vein. By the time of his third album, UNDER COLD BLUE STARS, he had graduated to a more pop-oriented approach with increasingly sophisticated production. His 2003 release, 1972, upped the ante even further by touching on both Rouse's '70s pop and soul roots.

A highly prolific and accomplished singer-songwriter, Josh Rouse is well represented by this excellent two-disc set, which thoughtfully surveys the indie-pop performer's late-1990s/early-2000s recordings. Highlights include the wistful "1972" and the chiming "Winter in the Hamptons," songs that showcase Rouse's emotive voice and intuitively spare arrangements. The second disc consists largely of previously unreleased tracks, making the collection ideal for dedicated fans of the talented troubadour.

Josh Rouse's follow-up to his critically acclaimed album 1972 ventures still deeper into the territory of mellow, nostalgia-tinged '70s FM radio, and this time the results are a little less Philly soul and a little more Laurel Canyon. The gently lilting "Winter in the Hamptons" and "Saturday" find Rouse nestled comfortably between the Rolling Stones' "Tops" and Bob Dylan's "Sweetheart Like You" on the jukebox, while "Carolina" is so light it could make James Taylor cry into his lemonade. Tinkly piano floats under Rouse's breathy vocals on "Sad Eyes" in a manner sure to enhance any romantic yearning to the point of pain, while a boogie-woogie vibe turns up on "Why Won't You Tell Me What." It's great to see this Nebraska singer/songwriter stepping unashamedly into the AOR-ready troubadour mold left empty for decades, and it's a role he inhabits beautifully and proudly. Incidentally, the title of the album refers more to geography (Rouse lived in Nashville for a decade), than rhinestone-spangled cowboy style, though some nice pedal-steel guitar does sweeten up a few tracks.

"This guy is the real deal. A great songwriter, Great creative music and a great style you can relax to."

Marvin Gaye...The Masterpiece

Marvin Gaye began his career in the late 1950s, singing with various R&B vocal groups. Soon he moved on to work as a session drummer and vocalist at Motown. Gaye's own '60s albums are marked by propulsive, high-energy R&B, and duets with Mary Wells and Tammi Terrell. In the '70s, he crafted a unique, highly personal vision of R&B, incorporating socio-political issues, atmospheric arrangements, and unified album themes. His early, violent death robbed the world of a true genius.

"It was Gaye's masterpiece."

Originally released in 1971, WHAT'S GOING ON remains a landmark album, one that redefined music with powerful, anthemic songs that remain pertinent to this day. Before WHAT'S GOING ON, R&B albums were collections of singles, with secondary "filler" material rounding out the LPs. Marvin Gaye changed all this by releasing a concept album that went beyond the usual boy-meets-girl scenario, weaving together an aural collage of societal ills. "Crime is increasing/Trigger-happy policing," from "Inner City Blues (Make Me Wanna Holler)," is as potent a line today as it was over 20 years ago, and with the country still divided over the Vietnam War, the title track became a rallying cry for peace.

Dark, mercurial, and jazzy, WHAT'S GOING ON was as radical musically as it was conceptually. Layered with lush orchestrations, heavenly background vocals, and loose, fiercely grooving arrangements, WHAT'S GOING ON so surpassed anything previously known as soul music that it virtually reinvented the genre. The critical and commercial success of Gaye's opus also enabled other artists to break free from the creative shackles imposed by Motown and other companies, and to experience more autonomy in musical and thematic expression, thereby changing the industry. In short, the musical and historical significance of WHAT'S GOING ON cannot be overestimated; it was Gaye's masterpiece, and still stands as one of the greatest soul albums of all time.

"This album is soulful, sensual and simultaneously delightful and sinful at the same time. More than 30 years later."

Relishing the artistic freedom afforded by the success of WHAT'S GOING ON, Marvin Gaye recorded this sultry paean to sex. Where its predecessor relied on complex arrangements, the straightforward sound of LET'S GET IT ON focused attention on its tight rhythms, strong melodies, and Gaye's expressive, nuanced singing. For sheer sensual come-on, it's hard to beat the title track, one of the finest celebrations of the joys of human chemistry ever recorded. But the self-explanatory "Come Get to This" and "You Sure Love to Ball" aren't far behind in terms of passionate execution and visceral impact.

Though LET'S GET IT ON has its reflective moments, notably the beautiful ballad "Distant Lover," Gaye's focus is on the here and now, and the intensity of his vocal performances and the silky, fluid feel of the arrangements inform the sensual "carpe diem" philosophy. Just as WHAT'S GOING ON opened the floodgates for political soul music, LET'S GET IT ON defined the "lover man" genre populated by luminaries like Al Green, Barry White, and Isaac Hayes.

"Let's Get It On" is still the standard for the album you play for romance and tremendous singing.

Dedicated To You, My Love."

Hot and Coverd...GQ: The American Way

GQ: The American Way

Say good-bye to the Ugly American. Classic American style reigns supreme once again

No disrespect to the Italians, French, or Japanese, but it’s classic American style that’s dominating the world of fashion these days. So much so that all labels—no matter their nationality—are offering their takes on everything from boat shoes to oxfords.

Photographs by Nathaniel Goldberg

Tennis sweater, $795, by Michael Kors.

•Not for the court but for the street. Tie optional; jeans or khakis essential.

Shirt, $480, by Thom Browne New York. Tie, $130, by Versace.

Repp tie, $170, by Prada.

•What used to be the most conservative of ties has found a new, spirited life, thanks to its slimmer build and creative color combinations.

Shirt, $385, by Prada. Shorts, $75, by Polo by Ralph Lauren. Sneakers, $50, by Adidas.

Baseball jacket, $613, by Moncler.

•A sporting-goods-store standard, currently being repurposed by numerous fashion labels, both American and European.

Shirt, $350, by Thom Browne New York. Tie, $125, by Band of Outsiders. Jeans, $158, by Levi’s Capital E. Sunglasses by Ray-Ban. Watch by Timex.

Hot and Coverd...GQ: The American Way

Cotton cardigan, $95, by Hilfiger Denim.

•Not droopy and slouchy like your grandfather’s, but fit and trim.

Shirt, $285, by Spurr. Tie, $50, by Top Gun. Shirts, $114, by Scotch & Soda. Sneakers, $50, by Converse. Watch by Nixon. Backpack by Jack Spade.

Madras shirt, $145, by Polo by Ralph Lauren.

•Shorts, shirts, pants—this quintessentially preppy fabric is back big-time, but now in more muted tones.

Shirt, $350, by Thom Browne New York. Tie, $125, by Band of Outsiders. Jeans, $158, by Levi’s Capital E. Sunglasses by Ray-Ban. Watch by Timex.

Cotton navy blazer, $795, by Emporio Armani.

•What you might have once reluctantly worn to a wedding has been reborn as the sharpest jacket of the season.

Polo shirt, $234, by Etro. Jeans, $230, by Diesel. Shoes, $148, by Quoddy Trail.

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Hot and Coverd...GQ’s October issue: The Sartorialist

THE SARTORIALIST

GQ’s eye on the street, Scott Schuman, captures the month’s best styles

In GQ’s October issue, Scott Schuman scopes out the crowd at Kanye West’s Madison Square Garden show.

Photo: Scott Schuman

Professor of Cool

I love how this guy takes a look you might associate with upper-crust academia and twists it with a hard-ass stare.

Double the Style

Dee and Ricky are designers and musicians (and twins) whose Lego-inspired accessories have crossed over from hip-hop to the runway of Marc by Marc Jacobs.

Got Braids?

Check out the black braided-leather wallet chain and the extra-long braided leather belt. It's all in the details.

Hot and Coverd...GQ’s October issue: The Sartorialist

N.E.R.D. Chic

This guy is so damn cool, he can turn the nerd persona upside down and still come out on top.

Evening Glow, Indeed

It’s got to be a little intimidating for women to attend a show where the men sport such a developed sense of style. For once, I think we sartorialists were the eye candy—and I’m okay with that!

All Business

A Kanye concert is one of the few shows where a guy can wear a killer suit and tie and still be recognized as one of the coolest cats in the place. But don’t think you can just pop over from the office; your suit better have some zip to it—Kanye is the Louis Vuitton Don, after all!