Wednesday, May 26, 2010

M/M Special Presentation: What Did We Wear? by Herry Lawford

Herry and Piers with Patrick in the orchard at Stocks c.1955 with Danny the spaniel

For the first ten / twelve years I doubt that I paid much attention to what I was wearing. Early photos show me in shorts, and we certainly wore shorts at St Ronan's(1953-1958), though I think that we may have been allowed into long trousers as we turned twelve. I can remember my delight, though, on getting my first pair of proper football boots - made by Adidas - instead of the heavy round-toed boots that we wore in those days. But 'PT' shoes were still plain white plimsoles and we had to wear a grey felt 'squasher' hat outside in summer.

I became more interested in clothes when at Winchester (1958 - 1964) where the early fashion was for 'drain-pipe' trousers. I had mine taken in to a ridiculous 13". I can also remember getting green and black check jacket and some 'oxblood' shoes at Basticks, the best of the local high-street shops (and coincidentally owned by the family of Richard Froomberg, who would later open Grey Flannel where I bought most of my clothes from the 1980s onwards). Here too we moved from plimsoles to much coveted 'Green Flash' gym shoes.

It was at Winchester that I developed a liking for black, wearing a black sweater and a black silk knitted tie for many years. The tie even came with me to the early days at Millers.

In my late teens / early twenties I became resolutely fashionable, at least at parties, wearing Mr Fish shirts and sometimes an orange silk cravat.... but the best was a superb velvet DJ from Blades, which had straight cut velvet trousers with a silk stripe. I never saw another one like it. There is a good description of the clothes and tailors of the day in David Mlinaric's piece on the V&A websitehere. I also had some suits made by a tailor in Winchester - Mr Thornton - that were less successful as he didn't know how to cut good crisp shoulders. I had one tight grey suit with a double-breasted waistcoat from him and wore it on a business trip to Yugoslavia with Bill Birch Reynardson, prompting him to comment laconically 'Il faut souffrir pour etre belle'....

I would also sometimes wear a short fur coat with wide shoulders of my mother's; something that was not unusual at the time. Our friend John Rendall for instance was often seen in fur and always wore snake-skin boots.

Arriving at Millers, I affected Turnbull & Asser shirts, often in the bright colours of the day. I can remember Frank Ledwith looking disapprovingly at a brick-red shirt and saying 'You'll never get onto the Baltic (Exchange) in that' - but my suits were less flashy, coming mainly from Moss Bros, though they concealed some incredible linings. I had one black silk suit which had a canary yellow lining and to my shame, I made the mistake of wearing it at the 21 SAS passing out ceremony where, as the 'Best Recruit' I had to march up to collect the cup, turn and march back. I can still remember the looks of amazed horror on the senior officers' faces as I turned sharply after my salute, sending my coat-tails flying......

My colleagues at Millers - particularly Christopher Bird - affected suits by the likes of Douglas Hayward. However, Christopher would grow rapidly tired of his suits and more than once I was deputed to return one to the tailor, who in those days took them back with good grace, even though they had clearly had a couple of week's heavy wear!


In the 70's, at Harvestgate, I would wear polo-necked jerseys and a corduroy coat which Patrick bought for each us from Dingles of Plymouth.

I also frequented Piero di Monzi in the Fulham Road and occasionally bought his rather smart ready-made suits. They usually had hairs on them from Piero's beautiful weimaraners which lounged around the shop all day. I have a grey cashmere overcoat from those days that I still wear occasionally.

Thereafter my clothes became less fashionable but I still had my shirts made, sometimes in Japan, where the tailor at the Palace Hotel turned out some good ones. In those days the yen was nearly 1000 to the £, so they were comparatively inexpensive. Later I would have my office shirts made in India, most of which I have still. For years my suits still came from Grey Flannel, made to measure in Italy, but slowly even that pleasure was replaced by the largely stock items that I wear today.


SPECIAL THANKS ARE IN ORDER TO OUR DEAR FRIEND HERRY LAWFORD FOR GRANTING PERMISSION FOR EXCLUSIVE REPRODUCTION OF THIS PIECE THAT ORIGINALLY APPEARED IN HERRY'S ARCHIVES ON THURSDAY, SEPTEMBER 24, 2009. ALL RIGHTS RESERVED.

M/M ENVIRONMENTAL DESIGN: PARTITION STRUCTURES 1959

Image from a private family collection. All rights resereved.

by Nicola Linza

My maternal great-uncle was imbued with a large creative force, and he channelled this energy into architecture. During his tenure as a society architect in New York in the 1920s his work included a number of significant yet not widely known innovations in architecture and design that progressed up through the Mid-Century.

In 1959 along with the famous architecture scholar and editor R.G. Chasteney as his colleague, my great uncle co-designed and co-held the US Patent 2886147 for movable partition structures. These stable yet temporary walls were for their day a breakthrough in design (hence the award to the team for their Mid-Century design patent from the U.S. Government.) Therefore, such items as movable partition structures that are often being considered innovate today ...clearly aren’t.

Aside from Mr. Paukstela being my direct relative, and myself being a former assistant to Ray Eames at the renowned Office of Charles and Ray Eames, this increasing trend of calling major patented achievements of the past in architecture and design innovative and new is offensive to me. This is especially so as regards people barely out of school, in essence many of their designs may be at best simply evolutions of other past achievements. I find the current practice of such attributions grossly offensive to my family, the fields of architecture and design, and is one in need of serious correction.

Let us begin here, the entire patent and my great uncle’s originals drawings to the original moveable partition structures design may be viewed entirely online at

Partition structure
United States Patent 2886147

M/M I miei fratelli italiani sprezzatura Dott. Roberto Maria Ferlin

Image courtesy of Dott. Roberto Meria Ferlin. Photo credit: Alessandra Bossola. All rights reserved.

Thursday, May 20, 2010

Wednesday, May 19, 2010

M/M Spanish Elegance by Virtue of Fineness of Manner and Expression: Lauro Ayestarán Fernández del Prado (1913-1966)

Image provided courtesy of Ángel Ayestarán for exclusive presentation in Manner of Man. All rights reserved.

Lauro Ayestarán Fernández del Prado (1913-1966)

Few men exude superior masculine energy of a refined quality, and to such a degree that it clearly comes across in a photograph. The fine and very elegant Spanish gentleman pictured above was such a man of great intelligence, looks, dignity, and clearly great personal style ...all ranking in the highest order. That is why today it is with great honour and privilege and we thank our dear friend Ángel Ayestarán for granting exclusive permission that we present his father Lauro Ayestarán Fernández del Prado (1913-1966) in the photo above from their private family collection.

Friday, May 14, 2010

M/M A Wonderful Time: The Good Life

Image of Nicola Linza courtesy of the Linza family archives. All rights reserved.

I was brought up in an era when thrift was still considered a virtue. 

J. Paul Getty 
1892-1976, American Oil Tycoon, Billionaire



M/M TRAGIC: INSPIRED BY THE FILMS OF LUCHINO VISCONTI

An installation by Nicola Linza. Webzine '99 San Francisco, CA. All rights reserved.




The Internet has become a tragic novella in a world where reality only distracts and degrades us. . . A modern day Ludwig presents a Conversation Piece of The Damned. . . A Death in Venice occurs when The Leopard is The Innocent. . . Rocco and His Brothers are still looking for the White Nights.





Hugh Petter, Director at ADAM Architecture

Tuesday, May 11, 2010

M/M Vintage Gucci

Image property of Nicola Linza. All rights reserved.

M/M The Most Romantic Line in 20th Century Music

There's a battle ahead, many battles are lost But you'll never see the end of the road While you're travelling with me.

- Crowded House from Don't Dream It's Over

M/M I miei fratelli italiani sprezzatura Emanuele Bongiorno di Canigliari























Image provided to Manner of Man for exclusive use. All rights reserved.

Monday, May 10, 2010

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