Thursday, 29 July 2010

M/M Interview with Robert E. Bryan

Image of Robert E. Bryan provided for exclusive use by Mr. Bryan. All rights reserved.

This exclusive interview with fashion editor, journalist and author Robert E. Bryan was conducted by Nicola Linza and Cristoffer Neljesjö in New York July 2010

How would you describe your style?

My personal style through the years has always been filtered through my deep appreciation of the classic menswear that existed between the great wars. Consequently, I try for a very put together look, whether dressing up or down…. though some would say too put together. I don’t relate at all to the too contrived idea of wearing jeans with everything, even formal attire, as a shortcut to looking “hip”. That concept lost its edge long ago. And when I look in the mirror, I am more likely to ad one accessory than take one off.

As fashions changed through the years I adapted in my own way, all the while wearing almost nothing but clothing from 1930-1960. Yet I wore it in such a way that people often thought it was contemporary, or even avant-garde. For instance, in the 1970’s the fashion folk believed my 1940’s suits were the latest thing from Armani 10 years before the film Wall Street made them a cliché. And when narrow lapels, skinny ties and plain front trousers became fashionable in the late 90’s, I adapted by wearing a circa 1960 JFK look, which everyone now calls Mad Men.

What was the greatest influence on the choice of your career?

Truth be known, I didn’t really choose a career…. I fell into it. I had been a history major in college and had considered becoming a lawyer, but after one year in law school, I decided I hated it and moved to New York City with no clear idea what I wanted to do. While I had many interests, fashion was certainly important to me, because of my love of old movies, my recent immersion in Ivy League style at the University of Virginia and the excitement of Mod and Flower Power fashions. As it turned out, an employment agency sent me to Abraham & Straus (“What’s that?” said I), a department store chain in Brooklyn and Long Island, where I joined the management trainee program, eventually becoming assistant buyer in the Groove Shop. In other words, we sold bell-bottoms, “body shirts” and Nehru jackets. Next came a stint as market representative at the May Corporate buying office and from there I went to Fairchild Publications as the fashion editor of Men’s Wear Magazine, finishing my career as Men’s Style Director of The New York Times. And that is how I “chose” my career.

Who are three designers (of any era) that to you define classic timeless taste in menswear?

Without doubt the designer who has always promoted, “classic, timeless taste” is Ralph Lauren. No surprise there. Starting in the 1970’s he began reviving 1920’s and 30’s style (then trendy), most obviously with the 1974 film The Great Gatsby. Since then he has continued to mine that era for a wide variety of fashions, many of which seem completely contemporary. For instance his Black Label and active sports lines are both modern and classic and always tasteful.

Michael Kors, while not so devoted to prewar style, has reinterpreted old school fashions for the contemporary world. He clearly loves old money resorts from Palm Beach to Nantucket, the men and women who vacationed there and the classic styles they wore…. but with a dash of 1970’s spice.

More recently, Tom Ford, formerly the flamboyant showman of Gucci, has shifted his gaze to the 1930’s as seen through the prism of chic 1970’s European menswear. Talk about old money and new money for that matter. Ford has set out to dress a modern day gentleman who wants the best of everything from silk dressing gowns to chalk striped, double-breasted suits, regardless of price.

Name eight items including footwear, suits, outerwear, and accessories in your opinion a man must own.

Needless to say, there are far more than 8 items that a well-dressed man should have in his wardrobe. Of course it makes a difference what kind of man we are talking about and what his particular needs are, say a man who works on Wall Street versus a man who works in Silicon Valley. So I will just list a few favorite items of mine. A. Blue blazer B. Gray flannel suit C. Khaki cotton suit D. Both a blue and a white cotton oxford button-down collar shirt. E. Gray flannel trousers F. Both white and black LaCoste polo shirts G. Brown oxford wingtip shoes H. An elegant fine watch…not a chronograph I. Classic trench coat

How do you view forward fashion for men?

Forward fashion worn by the right men can be a good thing. That man is probably younger, in good shape and has the confidence to carry off more extreme fashions. Then too, I have always distinguished between extreme fashions that are flattering and those which make a man look just plain ridiculous. Forward fashions keep things interesting, give the fashion world something to talk about, promote sales and hopefully inspire changes (however subtle) through out the market place. For instance, Thom Brown’s shrunken suits looked cute on young guys, like a little boy who had outgrown his suit, but absurd on anyone else. However, the idea of the slightly shorter jacket spread to even the most conservative corners of the tailored industry creating a refreshing new look for everyone. Then too, some styles that are considered forward, like full cut, pleated pants in the 1970’s were actually a return to the classics.

What do you think of the flood of so-called “Street Style” where anyone grabs a camera and becomes a so-called blogger often without discretion or an eye for quality?

Of course the concept of covering street style goes back at least to the 1920’s when Men’s Wear Magazine photographed trend-setting men at fashionable resorts like Palm Beach, Newport and Saratoga. True, Men’s Wear employed experienced fashion journalists to comment on what was worth watching. As you say, today there are a broad range of “bloggers” posting pictures of people they feel reflect what is happening in fashion, or at least have some kind of personal style. Though some of the most widely watched “bloggers” don’t really know much about men’s wear, (as you can tell from their comments), I still feel it’s interesting to see what even the untrained eye finds notable. Obviously all of this visual input will be confusing to the average man, but that is the price we pay for living in the “information age”.

If you could go back to any era, which would it be? Moreover, why would you prefer that particular era? 

By this time, it is obvious, if I could return to visit any era, it would be that golden age of men’s wear between the wars. No question, the 1920’s and 1930’s were the highpoint of men’s style. Just look at that style icon for the ages, the Prince of Wales, the images in Apparel Arts or Esquire Magazine, or look at the films of Fred Astaire, Cary Grant and Gary Cooper to name only the most obvious examples. The clothing was vibrant, alive, colorful, functional and most importantly, extremely flattering. Everyman could look like a movie star, even those who could only afford Sears & Roebuck. And this classic look could be worn equally well by all man, from college boys to mature gentlemen. Even beyond clothing, it was an era (despite depression and fascism) of great innovation in all fields: jazz music; the Bauhaus; streamlined design; Surrealism etc. etc.

It is 1970 and we are meeting in Rome for a private party hosted by Luchino Visconti. What are you wearing? In addition, whom do you want to meet?

Naturally it is a warm summer afternoon garden party, so I am wearing a tan linen, peaked lapel suit, with a white linen shirt, black silk knit tie, black polka dot handkerchief, and black and white spectator shoes. I definitely want to meet Dirk Bogarde, Marisa Berenson and Bjorn Andresen who will be appearing in Visconti’s upcoming film, Death In Venice, a personal favorite of mine. I am sure a few other great Italian directors of the era will drop by, hopefully Fellini (perhaps the greatest of all), elegant Vitoria de Sica and experimental Antonioni. Certainly actors Marcello Mastroanni and Sophia Loren will be there and from the international set, perhaps Alain Delon (so great in Purple Noon), and David Hemming (the height of Mod in Antonioni’s Blowup). By chance, Marlene Dietrich and Noel Coward (a hero of mine) would represent the older set of café society, along with legendary photographers Cecil Beaton and Richard Avedon. From the world of fashion, can think of none better than Valentino in his prime and Karl Lagerfeld (recently infatuated with the trendy Art Deco style). And just to mix things up, unexpectedly, the Rolling Stones fly in to perform a set with Marianne Faithful applauding from the sidelines.

Robert E. Bryan is the former Men's Fashion Director of The New York Times and author of the recent book from Assouline publishers, American Fashion Menswear.

The above interview with Robert E. Bryan 2010 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Tuesday, 27 July 2010

Monday, 26 July 2010

M/M Interview with Antonio Mancinelli

Image of Antonio Mancinelli courtesy of Massimo Ferrari. All rights reserved.

This exclusive interview with Italian journalist and writer Antonio Mancinelli was conducted by Nicola Linza and Cristoffer Neljesjö in Milan July 2010

You were recently in the Middle East any specific style inspirations hit you from that region?

Yes. They way people are connecting different cultures (and so different backgrounds) using the "tools" of fashion. I could feel the danger of globalization, but on the other hand, it's my opinion that fashion is (and has always been) politics, religion, thoughts which can be expressed without words, as a not-verbal language. So, it's very interesting, for me, looking at the way men and women are trying to balance to the tradition and to occidental flattery. A guy with the dish-dasha (the typical dress of the Emirates and very observant Arabic people) and colourful Nike sneakers. A Louis Vuitton bag hanging from the shoulder of a dark veiled lady. The "Turkish" pants so similar to the Westwood ones on a boy wearing white embroidered casaque and Dolce & Gabbana glasses. That could be read as a sign to build a personal style in a world where fashion could be really a bridge between two life concepts. For me, it was like a stroke to dare more in decoration: I never liked decoration; I always proceeded to take off things, not add colors, patterns, embroideries. In a certain way I felt there as a perfect example of "Bourgeois Refusal" about the great thinker Thornstein Veblen wrote in his essay "Theory of Healthy Classes" with my obsession for a certain purity of lines, architectural shape, love for plain colors as black, grey, dark blue, white. I began to think about how masculinity is wrongly linked with saying : «NO» to bright colours, intense perfume (luckily my personal fragrance is "L'ombre dans l'eau" by Diptyque for 25 years: roses, cassis, bois de rose, very unisex), decoration. So I bought in Damascus some beautiful, shining scarves hand woven in electric turquoise blue and red and another with black ground and rose, blue, golden embroideries... I learned that "to look as a man" is coinciding with different appearances in Western and Eastern world. And I had a confirmation: apart you can look, the power of seduction is always in the glance.

In light of the changes brought about by technology what is your view of the current state of men’s style publications?

Men's style publications printed on paper are becoming to look old, in light of changes brought about technology. It doesn't depends from the youth of the models, or from the beauty of pictures, but about the no-helping to readers to build their own personal style or to connect. We have beautiful men's fashion magazine but in any case I'm becoming at my age to feel the urge to read and to interact more with these kind of publications. Think about the link philosophy, for example. A CONTEMPORARY men's style magazine, in my humble opinion, is not only to show nice suits or great pictures, but link them to what's happening in the world, in culture, on the streets. For me, it is becoming un-useful to divide this magazine into news section, cinema section, guest star interviews AND the fashion images apart. All these things must co-exist together and my dream is to make a magazine on iPad, for example, where touching a guru jacket launches a short video about the place that jacket was born or the moments in history was much more used or why do we wear today and not, let's say, three years ago. Fashion is the mirror of the times, said Cecil Beaton. I'm deeply convinced of this when I began to write for magazine but now it is possible to mix up all these different subjects just using fashion as a privileged observatory.

When selecting a new item of clothing what is the first thing you look for?

I can't help it: I am literally obsessed (hey, Mr. Freud, where are you?) by jacket, shirt and ties. I can assure that I have very good relationships with the the inferior parts of my body and it gives me lots of satisfaction, but I'm mesmerized by the line of a well structured jacket, the collar of a shirt (I'm a collector of shirt and ties: much more than 200 shirts and 600 ties!), of a colour of a tie or a scar, a secondary obsession. I love beautiful shoes, but I forgo them for granted (using the same 4/5 models of Church's always and some discreet sneakers) but the charm of a very well done and cut jacket turns me on, in a certain way.

How would you describe your personal style?

I created a personal neologism for my style: "dysformal". It derives from Dysfunctional + Formal. I always buy formalwear of the most avant-garde designers because I consider that the confrontation with a strong chapter of a man's wardrobe it is a challenge for every designer. In addiction to this, I dislike so much the word "perfection". Honoré de Balzac wrote in a letter to a friend "Be careful, Madame! Perfection could be disgusting". I completely agree. I like the little mistake, the dissonant note, the not-so-right thing to do when I dress. a pair of sneakers under a very tailored suit, a regimental tie on a striped shirt under a striped suit, and always an element completely foreign to the culture represented buy the suit I wear. An afghan coat under a grey velvet three buttons. A giant bow tie under the grey flannel suit. A very aggressive pair of shoes (military boots) with the elegant pants, a long Moroccan light scarf in the winter used as a "cache-col". One particular, ONLY ONE, it has to do nothing with the rest of the outfit. I like to be a little terrorist against the rules, able to go in smoking (and green lime shirt with a purple tie) when I go in office and a double-breasted pinstripe suit with giant cufflinks-sculpture for an evening to La Scala. Never look reassuring. Trying to invent little forms of personal style. The secret is in the mistake. Mistake not mistakes.

If you could chose any painter in the world (living or dead) to make a portrait of you, who would it be? What would you wear? And where in your house would this painting hang?

If i could choose TWO painters in the world for a portrait of me, I'd like to be portrayed by Lorenzo Lotto and Lucien Freud. For opposite reasons: Lorenzo lotto portraits are very clean, cold, very simple and so subtle refined that you can guess the life of the subjects just by their glance (see answer n°1) that reveals irony, joie de vivre, humour geometrized in perfect composition. I'd like to be portrayed by Lucien Freud to show my inner fragility, my inside feelings like exudations from my face. So, in the case of Lorenzo Lotto, I'd wear a black silk velvet jacket under a black cashmere sweater (but with my turquoise scarf, for sure!). In the case of Lucien Freud, I'd wear my skin and nothing more. In every case, I'd like to hang them only in my bedroom, because only the people who know me well could know me better because of these portraits. Sometimes a picture of you can be more real than YOU.

The word sprezzatura is overused and almost destroyed thanks to all misinterpretations, what does genuine sprezzatura mean to you?

I am fond of word "sprezzatura". In Italy we are lucky because we are able to know the real meaning of the word, thanks to Baldessar Castiglione, author of "Il libro del cortigiano", but ABOVE ALL thanks to the delicious (no other words are better then these) of the Italian writer Cristina Campo. She wrote a memorable book called "Gli Imperdonabili" (The Unforgivebles) whire she put a light so strong on the concept that I consider the best explication. Sprezzatura for me means to love intelligent beauty to the death and trying to reach it with so many pains and sufferences and sorrows that at the end, you make it will appear as effortless. And (apparently) not thinking too much about myself, but to be a correspondent of 'grace' my other my personal mantra word). It's my goal since I was born: work so hard to make things look fresh, coming from a (fake) spontaneous start, making them perfect and light. Lightness is another personal fixation: but I intend lightness to be as the great Italo Calvino said: «Lightness is gravity without weight». It is marvelous and terrible to reach, isn'it?

It is 1970 and we are meeting in Rome for a private party hosted by Luchino Visconti. What are you wearing? In addition, whom do you want to meet?

I was born in Roma, so I can imagine very well a party hosted by Visconti. I wear a beige tailored-made three button suit, very understated, with handmade Italian shoes by a Florence shoemaker and colourful shirt (purple, electric blue, Veronese Green, hot pink) and colourful socks. No tie. A real flower at the lapel ("boutonniére") and a candid handkerchief. No accessory, just a very good-looking guy with me as accessory. Luchino would appreciate it.

I'd like to meet Coco Chanel, Jean-Paul Sartre, Yves Saint Laurent, Romy Schneider, Gore Vidal, Stanley Kubrick, the composer Xenakis, Solzhenitsyn, Pier Paolo Pasolini, Dirk Bogarde, John Cage, Pierre Boulez, John Lennon, Andy Warhol. And the Pope, of course!

Antonio Mancinelli is Senior Editor of Italian Marie Claire and the author of four books. 

The above interview with Antonio Mancinelli 2010 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Saturday, 24 July 2010

M/M An American on The Row

Image provided by G. Bruce Boyer. All rights reserved.

A London memoir written by G Bruce Boyer exclusively for Welldressed and Manner of Man Magazine

I graduated from college in 1963 and, before starting grad school I treated myself – I had earned some money while in college – to a cheap flight to London. I reasoned that, after all, British Literature was my chosen field so I should get some experience of the culture at first hand.

Sartorially speaking I was an Ivy style dresser, i.e., tweed sack coats, button downs, and penny loafers. But I was also beginning to notice classic British dress from watching English films and learning that so many great dressers of the Golden Age of Hollywood – Cary Grant and Fred Astaire, Ronald Coleman, David Niven, Gary Cooper, Robert Montgomery, and others – all wore clothes tailored on Savile Row. Among all the sights of historic and literary importance that I wanted to see, a pilgrimage to The Row was definitely on my itinerary.

To cut to the chase, after I'd had my fill of cathedrals and museums for awhile, I spent several days walking around the West End with my nose pressed to the glass of shop windows, thinking I was in heaven. The Burlington Arcade, the shoes and shirts in Jermyn Street, Smith's very Victorian Umbrella shop, a wonderful small shop in The Sicilian Arcade that sold regimental and university gear, and a great knitwear store across the street from the British Museum, Westaway & Westaway, that sold top quality sweaters at bargain prices. The day I visited there I had lunch in the Museum Pub, sitting in the very corner booth where Karl Marx used to have his lunch while researching Das Kapital in the BM Reading Room.

And I walked up and down the Row itself several times, peering through the imposing beveled glass doors to the hushed interiors. I was too timid and confused to make a decision, turned left at the Burlington Gardens end, and walked through Vigo Street to Regent Street to clear my head.

And there, directly across the broad and traffic-clogged thoroughfare from Liberty's Department Store, I spotted a lovely little tailor's shop. Bailey & Weatherill it said in gold on the window. Without thinking I turned the door knob and walked in. I was crisply approached by a decidedly spiffy gentleman dressed to within an inch of his life in a beautifully cut chalk-striped dark grey worsted three-piece suit, dazzling white collar and cuffs, and discreet polka dot silk tie. I noticed that the coat and trousers were cut in an Edwardian way, with a waist seam separating the torso from the skirt, and the trousers narrow and slanted down at the heel.

He was Mr. Weatherill he said, and was delighted to help me. I had bought made-to-measure suits at home, but this was an entirely new experience. This was THE REAL THING. I blurted out that I had an affinity for grey flannel. “Of course, Sir,” he said, “perfectly appropriate. But I did want to mention, Sir, that we really don't cut an American suit, and our style may not be what you want.” No, no, I assured him, English styling was exactly what I wanted. “Well then, Sir, let me show you some cloths.”

He put perhaps four or five swatch books before me and started to go through them, telling me the various weights and properties of each cloth. It was an education in itself. Eventually I selected a mid-grey 14 oz. West of England beauty from, I believe, Smith Woolens. Then he ushered me into one of the cubicles in the back to measure me and discuss styling. I pretty much went along with his suggestions, which was the house style: slightly draped cut, with good waist suppression and a bit of flared skirt, full but soft shoulder and deep side vents, hacking side pockets, and single-pleated narrow trousers without cuffs.

The more I thought about the styling the more it reminded me of something. Yes! It seemed remarkably like the sort of suits the British actor Patrick McNee wore when playing the character John Steed in The Avengers. I mentioned it to Mr. Weatherill. “Ah, yes,” he smiled. “Actually Mr. McNee is one of our most faithful customers.”

Four days late I returned for my first fitting. Mr. Weatherill gave me a hawk-like stare and started ripping at the basting like a dervish, removing the sleeves and undercollar, and seemingly chalking every available space on the cloth with inscrutable marks, all the while asking me how I was enjoying London, and wasn't I lucky to be here for the rare stretch of warm sunshine the capitol was having. He asked me to return in three days for a forward fitting.

At the forward fitting I was greeted by another not-quite-as-spiffy but charming gentleman, who introduced himself as Mr. Bailey. “I do apologize, Sir,” he said, “but Mr. Weatherill is unfortunately detained, and asked me to step in for him if you don't mind. We didn't want to keep you waiting.” When I tried on the suit, now all but finished, I could scarcely believe how much taller and slimmer and elegant I appeared. I stood up straighter and took on an air of international sophistication that would have been the scourge of croupiers and sommeliers the world over. “Turn a bit to the right, Sir, and have a look at the back. Not a ripple, Sir. I wish I'd have cut that.” He marked the waist for the buttonholes, and mused about shortening the sleeves a hair's width. I got the impression the fitting was more for his approval than mine.

“I think if you can return in two days, Sir, we'll have it ready for you,” and he ushered me to the door.

I only wish that were the end of the story. I returned to London 11 months later, at the end of my first semester in grad school. Naturally my first port of call was Bailey & Weatherill. Mr. Bailey greeted me warmly at the door, only to inform me that Mr. Weatherill had died the previous winter. Undoubtedly, I thought, that was why he was sometimes not in the shop: he was undergoing treatment with his doctor.

I ordered another suit, a mini tan-and-black hounds tooth number, and Mr. Bailey cut it perfectly. But at the last fitting me told me he was going to retire and close the business, which within the year he did. I moved on to Anderson & Sheppard, who made wonderful clothes for me for many years. But in my mind, whenever I think of Savile Row, I have a picture in my mind of a dapper gentleman in an Edwardian grey chalk-striped worsted. You never forget your first time.

The above exclusive by G. Bruce Boyer © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Beatles - Penny Lane

Friday, 23 July 2010

M/M les Invalides et on peut voir la tour Eiffel en fond

Photos contributed exclusively to Manner of Man Magazine by Jules de Nogaret. All rights reserved. 

Thursday, 22 July 2010

1922 Hispano Suiza H6B

Provided to Manner of Man Magazine by Wilhelm Berckemeyer.

Wednesday, 21 July 2010

M/M Marco Campanini: Grand Tour

All images provided to Manner of Man Magazine by the artist. All rights reserved.

It is with great pleasure that Manner of Man Magazine presents the complete portfolio of work titled Grand Tour by the very talented Italian artist Marco Campannini.


Marco Campanini was born in Parma on 13th April 1981. He graduated in Aesthetic philosophy from the University of Parma; his dissertation was entitled The aesthetics of "visibility" in Italo Calvino and Giulio Paolini. He has exhibited at a range of both solo and group exhibitions in Italy and abroad. His personal exhibitions include "Prime Visioni" curated by Luigi Fassi at Vitamin Arte Contemporanea, Turin, in 2005; "Grand Tour" curated by Daniele De Luigi and Alfredo Sigolo at the Sala Celio, Rovigo, in 2006; "Isolario", curated by Daniele De Luigi at Galleria 42 Contemporaneo, Modena, in 2007; and "Collezione di Sabbia", curated by Luigi Fassi at Fotografia Italiana arte contemporanea, Milan, in 2008. His exhibitions include "Italia, 1946-2006. Dalla Ricostruzione al Nuovo Millennio" curated by CRAF, the Photography Archiving and Research Centre, at the Pordenone Exhibition Centre in 2006, at the J. D. Carrier Art Gallery, Columbus Centre, Toronto, at the Metro Center, Toronto, and in Washington, Berlin and Halle; "La terra e le nuvole. Fotografia italiana da Ghirri a oggi" curated by Walter Guadagnini at Unicredit Private Banking, Milan, in 2006; "Ereditare il paesaggio" curated by Giovanna Calvenzi and Maddalena d'Alfonso at the Ara Pacis Museum, Rome, and at the Museum of Biella, Biella, in 2007. The quality of his work has been officially recognised on a number of occasions. He won the "PagineBianche d'Autore" prize 2005-2006 for the Emilia Romagna region, a competition sponsored by Seat Pagine Gialle S.p.A.; the "Menotrenta" prize at "Linguaggi a Confronto", the National Meeting of Young Artists in Savigliano (CN); and the "1st Fotografia Italiana arte contemporanea prize", Milan, in 2006. His photographs have been published in a host of publications and are part of both public and private collections include the Unicredit collection, the MIFAV collection (Museum of Photographic Images and Visual Arts) in Rome, and the Panizzi Library collection in Reggio Emilia.

Wednesday, 14 July 2010

Friday, 9 July 2010

M/M Important Roman Sculpture Joins Collection of The Metropolitan Museum of Art

The Three Graces Roman, Imperial period, second century A.D. Copy of a Greek work of the second century B.C. Marble; 48 7/16 x 39 3/8 in. (123 x 100 cm) The Metropolitan Museum of Art, Purchase, Philodoroi, Lila Acheson Wallace, The Jaharis Family Foundation Inc., Annette de la Renta, Shelby White, The Robert A. and Renée E. Belfer Family Foundation, Mr. and Mrs. John A. Moran, Jeanette and Jonathan Rosen, Malcolm Wiener and Nicholas S. Zoullas Gifts, 2010 (2010.260) Image provided by the Metropolitan Museum of Art, New York. All rights reserved.

Important Roman Sculpture Joins Collection of  The Metropolitan Museum of Art 

An ancient Roman group statue of great importance and beauty—a depiction of the Three Graces of Greek mythology—has been acquired by The Metropolitan Museum of Art, it was announced today by Thomas P. Campbell, the Museum's Director. The marble sculpture is a second-century A.D. Roman copy of a Greek work from the second century B.C. Discovered in Rome in 1892, the statue has been on loan to the Museum from a private collector since 1992, and has been on view in the center of the Leon Levy and Shelby White Sculpture Court since it opened in 2007. 

In making the announcement, Mr. Campbell commented on the history of the composition: "The charming dance-like pose of the Three Graces—who stand in alternating front and back view, with their hands on each other's shoulders—is one of the most famous and enduring compositions known from antiquity. It was first developed in the second century B.C., continued in popularity in the Renaissance, and has been influential during every subsequent period of Western European art. Thanks to the generous support of several Trustees and other good friends of the institution, we are delighted to announce the addition of this superb, extremely well-preserved, and beautifully carved work to the Met's encyclopedic collection, where it will continue to delight and inspire future generations."

The sculpture is on view in the center of the Leon Levy and Shelby White Court, where it is displayed with other Roman sculptures derived from Classical and Hellenistic models.

The Three Graces are Aglaia (Beauty), Euphrosyne (Mirth), and Thalia (Abundance). They bestow what is most pleasurable and beneficent in nature and society. In mythology, they play an attendant role; their closest connection is with Aphrodite, whom they serve as handmaidens. For ancient authors, the triad also served as an allegory for the cycle of giving, accepting, and returning favors, which were described by the ancient Roman philosopher Seneca as the "chief bond of human society."

After its discovery in Rome in 1892 near the ancient Forum of Nerva and Vespasian's Temple of Peace, this sculpture entered the collection of Joachim Ferroni and has since attracted much scholarly attention.

The Three Graces traditionally are shown as nudes with water jars covered by drapery at their feet, a representation that ultimately derives from the famous classical statue of Aphrodite by Praxiteles located at Knidos.

Thursday, 8 July 2010

Picasso in The Metropolitan Museum of Art: A Behind-the-scenes Tour with...

M/M Kedleston Hall - Derbyshire 2010

Photography of Kedleston Hall - Derbyshireby by Julian Craig and supplied to Manner of Man Magazine for exclusive use. All rights reserved.

Tom Ripley (feat. The Presets)

Placebo / Alain Delon in "Histoires extraordinaires"

Wednesday, 7 July 2010

M/M The Savoy, London

Image The Savoy, London front entrance at dusk is provided to Manner of Man Magazine courtesy of The Savoy, London press deapartment and may not be reproduced without prior authorisation. All rights reserved.

The Savoy to reopen Sunday 10th October 2010

The Savoy, A Fairmont Managed Hotel, will reopen its doors on Sunday 10th October 2010. One of this year’s most eagerly anticipated openings, The Savoy has been undergoing the most ambitious restoration in British history. The hotel closed in December 2007 for a restoration that encompasses the entire building from the iconic entrance and the American Bar to Savoy Grill and the 268 guestrooms and suites.

“We are very excited to reopen The Savoy”, comments Kiaran MacDonald, General Manager. “It is fair to say that this project has not been without its challenges, but we are looking forward to unveiling the results of nearly 3 years of hard work and dedication. We are very aware of the place that The Savoy holds in many people’s affections and we firmly believe that the hotel will exceed people’s expectations and reclaim its position as one of the world’s great hotels.”

The new interiors have been designed by world-renowned designer, Pierre Yves Rochon who has won acclaim for his work on other landmark hotels. His plans have been realised by the general contractors, Chorus Group and architects, Reardon Smith. Chorus have overseen a team of over 1000 craftsmen and women, artists and artisans who have worked tirelessly to create interiors that are in the spirit of the hotel’s two main design aesthetics, Edwardian and Art Deco.

“This has been a once in a lifetime project to work on,” says Tony Dowle, Director of Chorus’ parent company, Byrne Group. “Everyone who has worked with us at The Savoy has taken great pride in restoring such an iconic property. Their dedication and commitment has produced a hotel of uncompromising quality and we hope that the hotel’s guests will continue to enjoy our work for years to come.”

The Savoy’s reopening will reveal a number of notable highlights including the complete remodel of the legendary River Restaurant, the addition of a luxurious new two bedroom Royal Suite and the relaunch of 38 River Suites and Guestrooms with stunning views over the River Thames.

New to the hotel will be The Beaufort Bar, a glamorous Art Deco bar that will offer champagne, cocktails and cabaret and Savoy Tea, a bijou teashop selling Savoy tea, accessories and fresh patisserie. Within the Thames Foyer, the re-introduction of a stunning winter garden gazebo beneath an ornate glass dome will provide the perfect ambience for afternoon tea. In addition, the Savoy Grill will return again under the operation of Gordon Ramsay Holdings with Chef Patron, Stuart Gillies and Head Chef, Andy Cook. For those who wish to continue their fitness regime on the road, there will be a contemporary, glass enclosed fitness gallery and rooftop swimming pool – one of the few in the city.

Please visit for further updates on the restoration. 

UN HOMME ET UNE FEMME (1965) -- Trintignant & Aimee

Friday, 2 July 2010

M/M Interview with Enrico Libani

Image of Enrico Libani provided by Enrico Libani for exclusive use. All rights reserved.

This exclusive interview with Enrico Libani of Cesare Attolini was conducted by Nicola Linza and Cristoffer Neljesjö in New York during July 2010

Tell us a bit about yourself, your background and how you became the U.S. spokesman for Cesare Attolini? I have been working in the fashion industry since 1984, mostly representing Italian and French luxury/fashion brands. In 1996 our company started distributing Cesare Attolini and the business has grown ever since both with the wholesale and direct marketing retail divisions.

How would you describe your style? Classic with modern esthetics, however, most importantly I have always been passionate about quality.

Describe Cesare Attolini style in one word. It’s “Flawless” – British elegance – Italian execution.

If you were starting a wardrobe from scratch, and money is no object, name the essentials you must own. A tuxedo, a blue blazer, a blue chalk strike suit, a grey sharkskin suit, a grey Prince of Wales sports jacket, a flannel and a worsted grey trousers, a single-breasted classic navy topcoat, a dozen white shirts, a few navy ties, a vintage blue jeans. Everything must fit perfectly, of course, my shoe maker would take care of the rest.

What is your favorite hotel in the world? Moreover, why? Plaza Athene in Paris because it is old-world style projected into the 21st century in the most magical city in the world.

If you could chose any painter in the world (living or dead) to make a portrait of you, who would it be? What would you wear? And where in your house would this painting hang? Michelangelo. I would wear my striped navy blue suit, my white shirt and my navy tie. Wife permitting, I would hang the picture at the entrance (just kidding).

It is 1970 and we are meeting in Rome for a private party hosted by Luchino Visconti. What are you wearing? In addition, whom do you want to meet? I would be wearing my grey sharkskin suit, my white shirt and the navy blue tie. I would like to meet Sophia Loren, Valentino and Woody Allen.

The above interview with Enrico Libani 2010 © Manner of Man Magazine. All rights reserved. Reproduction is strictly prohibited without written permission.