Tuesday, 24 August 2010

M/M Interview with Lalle Johnson

Image provided by Lalle Johnson to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

This exclusive interview with Lalle Johnson conducted by Nicola Linza and Cristoffer Neljesjö in Stockholm August 2010

Why did you become a stylist?

Because I loved style, clothing and shape as well as photography, and in the mid-80s when I started was the height of the new Japanese and the French modern era.

I just wanted to be a part of all that!

Where do you find inspiration?

On the street, lots of cool sites, and historic things.

In your view, what make a photograph significant?

The moment, that little moment that just made it!

What Era would you have wanted to experience?

Close call between Rome at its peak, and Venice in the mid-18th century.

It is 1970, and we're meeting up at a party Luchino Visconti is having in Rome. What are you wearing? In addition, whom do we want to meet?

A tuxedo of course, chatting away with
Marcello Mastroianni, and flirting with Sophia Loren.

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

Saturday, 21 August 2010

Thursday, 12 August 2010

M/M Interview with Michael Jondral

Image courtesy of Michael Jondral provided for exclusive use. All rights reserved.

This exclusive interview with Michael Jondral was conducted by Nicola Linza and Cristoffer Neljesjö in Hannover August 2010

Is classic style timeless?
Of course it is! All things classic are -per definition- of timeless style. The question then should be: What is "Classic" in menswear? And what is not-or: no more...in my shop we´re trying to define these standards again every season.

If you could select one item of clothing or accessories as the most important to a man what would it be? 
His wristwatch (I prefer a 28 year old steel Rolex Airking,) and his shoes (I prefer the shoes of Saint Crispin´s - best in the world). Like oxygen!

How did you come into being in the business of menswear? 
Fashion is my passion since i was a kid. But not as in "love playing with dolls"! One day i started my training at my favorite menswear store, which happened to be one of Germany´s leading addresses then. I sticked with them for 23 years until I founded my own company three years ago. Of course, with my beloved wife Bettina. She´s my inspiration...

And, how would you describe your style?
Classic with a twist. I learned a lot from my friends in Napoli...

What do you think men should wear this fall?
In this season, for me it´s very important to mix the classic with a few part of casual. For example a unlined striped flannel suit with shirtsleeve together with a cashmere tie and and gilet in scottish cashmere (all together from Cesare Attolini;) or a Herringbone double-faced jacket in cashmere (also from Cesare Attolini) with a turtleneck cardigan in washed cashmere from the beautiful knitwear company Fedeli. For the casual part, in shoes the new line Zonkey Boot from Michael Rollig, the founder of Saint-Crispin´s. But the most important inspiration is to always have the best in QUALITY!

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

Tuesday, 10 August 2010

M/M Afghanistan’s Dazzling National Treasures—Hidden for 25 Years—Presented at Metropolitan Museum

Image Medallion with torso of a youth
Begram, first-second century A.D.
22.3 cm (8-7/8 in.)
National Museum of Afghanistan, Kabul
Photo: © Thierry Ollivier / Musée Guimet

Reprint courtesy of the Metropolitan Museum of Art.

Ancient Afghanistan—located at the crossroads of major trade routes, where it attracted invading armies and nomadic migrations—was home to some of the most complex, rich, and original civilizations on the continent of Asia. Opening at the Metropolitan Museum of Art this summer, the traveling exhibition Afghanistan: Hidden Treasures from the National Museum, Kabul, celebrates the country’s unique role, as both the recipient of diverse cultural elements and the creator of distinctive styles of art from the Bronze Age into the Kushan period. The presentation also commemorates the heroic rescue of Afghanistan’s national treasures long thought to have been destroyed. The exhibition features a rich selection of artworks from four archaeological sites. All works belong to the National Museum of Afghanistan in Kabul. Highlights include gold vessels from the Bronze Age Tepe Fullol hoard; superb works and architectural elements from the Hellenistic city of Aï Khanum; sculptural masterpieces in ivory, plaster medallions, bronzes, and Roman glass from Begram; and extraordinary turquoise-encrusted gold jewelry and ornaments from the nomadic tombs at Tillya Tepe.

The exhibition is made possible in part by Raymond and Beverly Sackler and the National Endowment for the Arts.

The exhibition was organized by the National Geographic Society and the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York, the Asian Art Museum of San Francisco, and the Museum of Fine Arts, Houston. It is supported by a grant from the National Endowment for the Humanities and an indemnity from the Federal Council on the Arts and the Humanities.

In 1978, archaeologists digging at the ancient site of Tillya Tepe in northern Afghanistan made an unprecedented and unexpected discovery: tombs of ancient nomads that had not been disturbed for two thousand years. Buried there were a nomadic chieftain and five women wearing sumptuous adornments such as swords, crowns, and clothing covered with tiny gold appliqués. When the country descended into war shortly after the find, the socalled Bactrian Hoard disappeared and was believed to be lost forever. In 2003, the world was stunned to learn that the priceless artifacts had been located intact in a bank vault within the presidential palace in Kabul. A heroic group of Afghans who have come to be called the “key holders” kept the location of these treasures—along with other masterpieces belonging to the National Museum, Kabul—a secret through 25 tumultuous, war-torn years.

“As we look at these fragile and delicately wrought works of art, we cannot help but be amazed at their survival from antiquity to the present time,” commented Thomas P. Campbell, Director of The Metropolitan Museum of Art. “And as we learn the dramatic story of their fate over the last 25 years, our appreciation for them can only deepen. We are honored to present these beautiful treasures at The Metropolitan Museum of Art—their final US stop on a three-year-long worldwide tour.”

Speaking about the exhibition, His Excellency Said Tayeb Jawad, Ambassador of Afghanistan to the United States, remarked: “Afghanistan has always been the heart of Asia. Afghanistan’s centrality in the Silk Road created a rich mosaic of cultures and civilizations. Although this mosaic was shattered by war and terror, both the spirit of the Afghan people and our cultural heritage survived. These priceless artifacts are a testament to the Afghan people and to the heroism of the brave and selfless Afghans who preserved and protected them. This exhibition is a celebration of Afghanistan as much as it is an expression of our appreciation for the global partnership between our ancient nation, the international community, and our friends in the United States.” Fredrik Hiebert, exhibition curator and National Geographic Archaeology Fellow, continued: “This exhibition is the culmination of many years of work by the Afghans. Without their courage and commitment, these objects would not exist today. Having worked closely with Afghan officials since 2003 on the preservation and inventory of the objects, I am honored to be part of the effort to share these treasures with audiences in the United States and ultimately to enhance the understanding of Afghanistan’s rich cultural heritage.”

Exhibition Overview
The exhibition is arranged by archaeological site and features new maps and media specially commissioned by the National Geographic Society. The display begins with objects from Tepe Fullol in northern Afghanistan. In 1966, farmers discovered the first evidence of a Bronze Age civilization in the region. The nearby Oxus riverbed may have provided the gold used to create the artifacts found in a burial cache at the site. A highlight is a gold bowl fragment dating around 2000 B.C., depicting bearded bulls, an image familiar in the art of Mesopotamia.

The second section focuses on Aï Khanum, one of the largest Greek-style cities founded in a region of Asia that had been conquered by Alexander the Great. Several buildings—a theater and gymnasium built in the Greek style—bear witness to the city’s Greek origins, as do scientific instruments such as sundials. Works from the site show the Mediterranean influence in the area between the fourth and second centuries B.C. Sculptures and other objects from this site include a stone portrait of the Gymnasium director, a bronze image of Herakles, and a gilded silver plaque with the goddess Cybele, exhibiting a mixture of Greek and Near Eastern imagery .

The excavations at Begram, the third site, yielded works dating from between the first and second centuries A.D. Among the contents of two sealed rooms were remarkable luxury goods, including more than 180 Roman glass vessels and spectacular ivories carved in an Indian style, which are among the earliest preserved works of their kind. They depict women and children in domestic settings, as well as Indianized motifs such as the makara, a crocodile-like creature. These works shed light on the role of Afghanistan in the exchanges between East and West along the legendary Silk Road.

The fourth section of the exhibition focuses on Tillya Tepe and includes impressive inlaid gold objects found in the six nomadic tombs that were unearthed there. The individuals buried in the tombs belonged to the same group of nomadic peoples who first overran Bactria around 145 B.C. and brought an end to the Graeco-Bactrian kingdoms that had flourished in the region. The tombs of a chieftain and five women contained different kinds and quantities of objects, which may reflect their relative status. Dating from the first century A.D., the works include an exquisite crown and other luxury objects, most made of solid gold and many encrusted with turquoise and garnets. Although it is not known where the gold originated, the turquoise is probably from northeastern Iran and the other semiprecious stones may have been obtained from more distant regions through trade. The adornments found at the site display a fascinating blend of nomadic, Greek, Indian, and Chinese imagery. In addition, the closest parallels for the typically nomadic gold crown worn by the one of the women are found much later in fifth and sixth century A.D. tombs of the Silla Kingdom in Korea. Tillya Tepe thus raises compelling questions about the geographic and temporal span of nomadic traditions in Asia.

Also included in the exhibition is a 13-minute film, narrated by Afghan American author, Khaled Hosseini, and produced by National Geographic, which tells of the original discovery and excavation of these collections and their dramatic rediscovery in 2003.

Related Programs and Credits

A variety of educational programs have been organized to complement the exhibition, including a symposium, gallery talks, films, a family festival, a workshop for teachers, verbal imaging tours for people with visual impairments (on request), and guided group tours for people with disabilities.

The exhibition was developed by Fredrik T. Hiebert, National Geographic Society Archaeology Fellow, Washington, D.C. The presentation at the Metropolitan Museum is overseen by Joan Aruz, Curator in Charge, and Elisabetta Valtz Fino, Curator, both in the Department of Ancient Near Eastern Art, and Denise Patry Leidy, Curator, Department of Asian Art.

The exhibition is accompanied by an illustrated catalogue, Afghanistan: Hidden Treasures from the National Museum Kabul, published by National Geographic Books. Edited by Fredrik Hiebert and Pierre Cambon, the publication will be available in the Museum’s book shop ($30 paperback).

An audio tour, part of the Museum’s Audio Guide Program, will be available for rental ($7, $6 for members, $5 for children under 12). The Audio Guide program is sponsored by Bloomberg.

The exhibition will be featured on the Museum’s website at www.metmuseum.org and at http://www.nationalgeographic.com/mission/afghanistan-treasures.

Vincent - Don Mclean

M/M Interview with Gregor Thissen, CEO of Scabal

Image of Gregor Thissen provided for exclusive use. All rights reserved.

This exclusive interview with Gregor Thissen, CEO of Scabal, was conducted by Nicola Linza and Cristoffer Neljesjö in Stockholm August 2010

Scabal was founded in 1938, how has the brand developed during these 72 years, what has happened?

Scabal has grown from 5 employees in 1946 (the official date incorporation) to todays 600 people that work for the group. From being a cloth merchant catering to local tailors, we have taken the company to becoming a designer and producer of finest men's fabrics and men's clothing, with and international followership stretching over the 5 continents today. Not only are we recognised as a leader in the field of innovative luxury fabrics but also renowned for our impeccable service in customized clothing. So one could say that the last 72 years have seen quite an evolution in the size of the business, it's international spread and in the recognition of Scabal as a brand.

Describe Scabal in three words.

Quite difficult to pick just three in view of the multitude of products and activities that we have. If I was to really restrict it to three I would probably pick: "
craftsmanship ", "international" and "personal"

How would you describe your personal style?

I guess that my personal style would be in line with this. I like to dress quite classically, plain or semi-plain suits with white or light blue shirts as a basis. I like to add little touches through accessories like ties and "pochettes", but never too loud. Definitely I would put elegance and sophistication before fashion but like to keep track of tendencies and interpret them in my personal way. I make a point of wearing clothes adapted to the season. A cotton, linen or mohair suit for summer and flannel or heavier wool suit for winter.

What is more important how the suit fits or the quality of the fabric?

One should not compromise on either. Obviously being the CEO of a leading fabric
producer I would say th at the quality of the fabric is paramount and I will even say this by personal conviction. I believe that the fit is crucial at a level that most people would tend to underestimate. Your clothing has to fit your personality. The best suit, made out of the most fantastic fabric will not leave a lasting impression unless it is designed and chosen in line with the wearers character .

We are in an era of fast change in both trends and technology, in light of this what direction do you have in line for Scabal?

In terms of trends we are seing a strong casualisation of general clothing culture. This is seen by many as a danger to our industry. I feel differently about that. Whether clothing is casual or more formal is secondary to the question of elegance, quality and style. Our collection in fabrics and clothing will cater to the formal and to casual world alike, so casualisation is a trend that we embrace without any problem and sure enough you can alreay see the next turn of events around the corner.

From a technology point of view one definitely has to think about the online-world.
The internet has transformed our lives profoundly. Obviously we are impacted on many levels, like the need for online-ordering tools, internet marketing and information management in the world of Facebook and Twitter. But the most important opportunity and challenge lies in the transparency that the internet creates for the consumer. Most of our potential clients of tomorrow are and will be very interested in product origins, compositions, real benefits and they will want to able to associate with brands that are transparent and genuine in their message. At Scabal we have the authentic side well covered since it has always been part of our DNA, we now need to work on ways to communicate the content in a timely and efficient way.

How important is timelessness to the aesthetic of line?

Well, as you can deduct from the previous answers we are not fashion avangardists, so timelessness is an essential part of our product and design philosophy. Obviously you cannot and should not completely ignore trends but we feel that the principles of elegance and sophistication remain and therefore should always be part of our image.

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?

In 1970 I was 8 years old
, so... I would probably have worn a dark colored cotton suit. I would have liked to meet Claudia Cardinale for obvious reasons and Giancarlo Gianini because he is a great actor.

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

Monday, 9 August 2010

One-77 Episode 4 Teaser Video.mov

M/M Interview with Peder Lamm

Image provided by Peder Lamm for exclusive use. All rights reserved.

This exclusive interview with art dealer, TV-host and designer Peder Lamm was conducted by Nicola Linza and Cristoffer Neljesjö in Stockholm August 2010

Interview with Peder Lamm

You're a man with a great knowledge in style and you've finally decided to start your own line of clothes, tell us a bit about Peder Lamm Collection.

It all started with my own clothes. I am to small for Swedish ready-to-wear sizes, so I had to have my clothes made by a tailor. Doing so for some time, I took interrest in materials, cuts, buttons, linings et c. I was looking for perfection. One thing led to another. In the end I thought that it would be undemocratic to keep what I had found out for myself.

Being an artdealer and antique expert, how has the world of art influenced your taste in clothes?

Well, many artdealers dress like tramps, but some do really look great. Especially the English and Italian art dealers are well dressed. Otherwise, in art people rarely wear clothes. A fig leaf, at the most!

What do you think men should think about when buying a suit?

There is a lot to think about! Start with some basic questions like:

- Do you often wear a suit? If not, ask someone who does.

- Summer or winter?

- What is your budget?

- What materials do you like?

- Which colours look good on you (whith your skin type and hair in mind)?

In general I think guys often wear their suits too big. One size too small is ideal. Don´t go for what is expected. Try heavier materials, an unusual weav, unconventional colours and patterns (without looking like a clown). Go for conservative cuts. Very trendy looks will pass within the year, and a good suit is expensive.

What period historically do you view as having the greatest level of creativity and attention to detail in menswear?

Of course it is the period 1800-1820, especially in England. Otherwise my favorite is American east coast 1920 - 1940 and 1955 - 1970.

If you could buy any piece of furniture today with an open budget what would it be?

A good 18th Century Paris made piece, preferebly by one of the best masters of the Louis XVI period, like Adam Weisweiler or Martin Carlin.

Who is your favorite artist?

Paolo Uccello (Florence 15th C)

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?

Actually, in 1970 I was wearing diapers, but OK, I get your point! A black, slim, light wool suit, a white Egyptian cotton shirt, a plain black silk tie and a pair of perversely well polished, pointed black hand made shoes by Ferragamo. A white linen handkerchief in my breast pocket and a pair of gold cufflinks by Bulgari. Of course I would meet La Sofia, we would leave the boring party for a drink at a trattoria and then head for my suite at the Hassler for a bottle of Champagne (Carlo P wouldn't notice, she would be home in time).

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