Monday, 31 January 2011

M/M Interview with Jean-Claude Biver

Image of Jean-Claude Biver provided by Hublot. All rights reserved.

This exclusive interview with Jean-Claude Biver of Hublot was conducted by Nicola Linza and Cristoffer Neljesjö in Nyon, Switzerland during January/February 2011

You've been very successful so far in your career, tell us a bit about yourself and why you chose to join the watch making world.

I joined in 1975 the watch making world in order to work in my adults passion: the watch. My adults passion was nothing more than the continuation of my boy's toy: the steam machine. I believed in 1975 that if I would work in watches, I would be constantly in touch with my passion and would never get the impression of working. This believe in 1975 proved to be true and since 1975 I seldom had the impression that I was working.

Please explain the concept of the Art of Fusion for our readers.

Fusion means for us connecting the Tradition with the Future. We use our 400 years of tradition not in order to repeat what has all been done in the past, but we use these 400 years in order to connect them to the Future (to the 21st Century for the time being). In a certain way we are doing what Les Paul and Gibson have done when they took a spanish guitar and suddenly connected this guitar to the future. As a result they invented electronic guitar, which is somehow still a guitar but delivers totally new sounds. Which has opened a new area to music and given birth to modern music.

You have distinguished Hublot as an innovative brand of luxury Swiss watches closely allying with the international sports community. How does character play into your management style?

We are constantly trying to connect Hublot to its customers (which for us is not only the actual customer who can buy the watch, but much more we target the customer of tomorrow who can still not afford to buy our watch today). So wherever our customers are, we follow them. We want to give them the conviction and impression that we belong to their world, that we use the same materials as they use in their daily life or in their passion (ceramic brakes, carbon bike, ultra light phones, and so on) and finally that we are connecting them to their future.

While we are on management style, it seems that people today are using the international bad economic situation as an excuse for not taking personal responsibility for their actions, as a chief executive how do you address this?

The more the economy is bad or the more your company is in trouble, the more you must take position and show your determination and your personality.

When everything is smooth, you could eventually afford for a little time to stay behind, but clearly I am awaiting for a CEO to be strongly present and to show creativity, innovation and leadership.

How would you describe your personal style?

I would consider myself as a leader who shares, who respects and who is capable of forgiving. I love my team and my team is my future.

How do you work to move forward and develop Hublot through these economic times?

We follow our concept: 1. always try to be the first or/and 2. try to be unique or/and 3. try to be different. This concept obliges us to constantly innovate, to be creative, to constantly explore new roads and to constantly connect to the future. During economic hard times, I believe that the only exit is named: creativity and innovation.

You obviously have a passion for fine watches, what are your other interests you enjoy doing in your spare time?

I enjoy above all my family. I would love to become very soon a real patriarch and leave one day a strong and deep trace of love. Among other passions beside my family I love my farm, my cows, my cheese, my wine and my 1963 Mercedes Roadster 300SL. I love cycling, skiing and sailing.

Which is your favorite watch of all time and why?

The Bigger Bang All Black. Why: it has the look of a steam machine. It incorporates traditional watch making (tourbillon chronograph) and modernity (ceramic all black case).

And above all it is a watch I can wear at any occasion (diving, skiing, golfing, at work, and even with an evening dress).

The above interview with Jean-Claude Biver 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Thursday, 27 January 2011

M/M Interview with Jonas Roslund

Image of Jonas Roslund (on left) provided by Divanti. All rights reserved.

This exclusive interview with Jonas Roslund was conducted by Nicola Linza and Cristoffer Neljesjö in Gislaved, Sweden during January 2011

Why did you start Divanti?

I fulfilled a dream of having my own shop after working in sales both in stores and out in the field where I discovered that I enjoy being on a higher retail level.

What prompted your interest in finely made menswear?

I have been interested in fine clothing from the age of 10, and it has evolved since then.

Please describe your personal style

I have a classic Italian style and often wear a suit or an odd jacket with chinos or sometimes even jeans. I really like the Boglioli jackets with a washed look and I prefer the colours brown, light grey, navy blue and off-white, as well as orange, apple green and coral for pants and accessories.

A man tells you he requires a total look for a mid-week business meeting, what would you suggest?

It depends on where in the world the meeting is held but in general I would recommend a grey micro-patterned suit with a nice light blue shirt, a navy blue tie, a pocket square and a pair of brown shoes.

What criteria do you apply when viewing and selecting items for the store?

The quality should be in relation to the price, and not in relation to the brand or label.

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

In Fall I would wear a light grey pinstripe double breasted suit with brown suede shoes, a white shirt with a silver-grey tie and a paisley pocket square.

In Spring/Summer I would wear a cream white linen double-breasted suit with a white linen shirt, champagne coloured tie, light suede shoes with coloured socks and a white panama hat.

The above interview with Jonas Roslund 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Wednesday, 26 January 2011

M/M Style Separates The Man from The Boys

Images provided to Manner of Man Magazine by Luciano Barbera and may not be reproduced without written authorisation. All rights reserved.

Monday, 24 January 2011

M/M Interview with David Saxby

Image of David Saxby provided to Manner of Man Magazine by David Saxby, London for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

This exclusive interview with David Saxby was conducted by Nicola Linza and Cristoffer Neljesjö in London during January 2011

Tell us a bit about your history and why you decided to start your own shop?

I got started in tailoring in the sixties, the glory days of tailoring were coming to an end, but got a last shot in the arm by people such as Mr Fish, Tommy Nutter, who executed quite mad pop styles to Savile Row. Jermyn Street shirtmakers met Carnaby Street halfway and for a few short years produced the last garment which combined style and high quality. It was all downhill after that.

What was it like in the heyday of the 1960s starting a traditional clothing firm?

The sartorial liberation that we thought was so great in the sixties simply produced a generation who had lost their way in matters of dress.

What made you focus on sporting tweeds and formal wear?

I worked for a short time for a very old fashioned tailoring retailer, the sort of business that almost completely disappeared by the seventies. I think my own style was set for life from my time at that shop in Yorkshire, tailored tweed suits, Sulka ties, silk socks, doeskin waistcoats, although I had to travel to London to acquire a pair of Chukka boots, a style of footwear I use almost to the total exclusion of any other.

Due to the economic times we are in have people become more aware of good quality instead of just spending a lot of money on a certain brand?

It would be very nice to think that in the current harsh economic climate, that people would be more aware of quality and durability. In the old days, a chap buying a suit spent most of the time talking about the cloth and it's performance, but in those days most suits were individually made by tailors, whereas most people are just presented with a "Range" and a "Brand". Really, anyone who cared a jot about the planet would not buy anything from the fashion industry. It's amazing how many "Greens" will wear garments made from plastic (oil) with unnecessary writing on them, shipped from the other side of the world using more oil

You said in an interview ”Fashion is for children” so what is style to you?

Fashion depends on poor quality materials which have to be replaced every year, a well put together 22oz Scottish thorn-proof jacket will still look good after twenty years. Fashion is "Landfill", Style is forever.

The above interview with David Saxby 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Thursday, 20 January 2011

M/M Interview with Derek Turner, Journalist, Editor of The Quarterly Review by Craig Bodeker - Political Correctness in Britain: A Clown with a Knife


Interview supplied exclusively to Manner of Man Magazine by Craig Bodeker with expressed permission of Derek Turner. All rights reserved.

Saint Crispin´s Workshop

M/M The secret of being a bore is to tell everything. - Voltaire

Image provided to Manner of Man Magazine for exclusive use by Massimo Alba. All rights reserved.

Wednesday, 19 January 2011

M/M The Meaning of Life

Image Making of, Paris 2010 by Michael Brus provided to Manner of Man Magazine by Michael Brus. All rights reserved.

Tuesday, 18 January 2011

M/M Interview with Peter Pennoyer

Image of Peter Pennoyer provided by Pennoyer Architects, New York for exclusive use. All rights reserved.

Classical Talks – Interviews with members of The Institute of Classical Architecture & Classical America

This exclusive interview with Peter Pennoyer of Pennoyer Architects, New York was conducted by Nicola Linza and Cristoffer Neljesjö in New York during January 2011

Interview with Peter Pennoyer

Briefly tell our readers about your background?

I was born and raised in New York City and attended both college and graduate school at Columbia University so I feel like a real New Yorker. My family was involved with the civic life of the city. Both of my parents served on various boards of cultural and political institutions. A commitment to doing good for one’s community was and continues to be an important value in my family. Through my father I was able to follow the deliberations of the Art Commission, a city agency that reviews all projects on public land. I also watched as the Metropolitan Museum expanded and became the first institution in New York to embrace the future at a time when the coffers were almost empty and American cities were widely assumed to be dangerous and in decline.

How did your interest in architecture, and particularly traditional architecture develop?

As a child I watched as various old buildings, some directly on my street, were demolished to make way for new apartment houses and office buildings. This was a low period in architecture in America, arguably the lowest of the 20th century, so I began to compare the new buildings to what was lost and what remained. From these comparisons I became I keen observer of architecture; this interest in looking at buildings became my primary focus outside of school. Before college I pursued my interest in the city and in architecture through internships at the Smithsonian Institution in Washington, the New York City Planning Commission and the New York City landmarks Preservation Commission. These groups and the people I met during these years convinced me of the importance of traditional and classical architecture.

Describe Peter Pennoyer Architects.

We are thirty-five architects, draftsmen and historians who collectively pursue a handful of residential and institutional commissions each year and produce a historical architectural monograph about every three years. I have two partners, Tom Nugent and Liz Graziolo and a Director of Design, Gregory Gilmartin. In addition we have many talented associates including Anton Glikin. Each commission is based on research and creativity, yet our base is our understanding of historical precedent. We are constantly learning and, we hope, improving. No one project is like another.

Clearly you hold classical architectural principles in great esteem, please explain how this translates into your work.

The language of classical architecture gives us the framework to pursue our imaginations without making our work self-referential. Classicism is more than the cannon of rules laid down by the masters such as Palladio; for me and my colleagues, the pursuit of every aspect and permutation of classicism – even the licentious ornament of later centuries is a spur to our imaginations.

Your work places a great emphasis on light, movement and volume, in essence space in time. Is there a favorite project? If so, please explain why.

My favorite project is a house in Dutchess County, completed in 2009. Set in rolling hills typical of the Hudson River Valley, this house meets the client’s brief which was to imagine a collaboration between Robert Adam and Duncan Phyfe designing a villa for a lady. The plan is a square, yet each façade is modeled to a distinct character. The interior is organized around a vaulted hall, a semi-circular stair and, on the second floor, a domed and vaulted gallery. My client’s collection of 19th Century American art fits perfectly.

How would you describe your personal style?

Quality of fabric and tailoring are most important. Lanvin, Etro and Phineas Cole from Paul Stuart are my favorites.

You can have any commission where budget is no object, what would it be?

I would like to design a town, or at least part of a town. The budget would assume that this place would be around for at least 100 years. In the world of American development that would be considered no budget.

We are currently designing part of a town in China. The client’s willingness to use real materials and invest in extraordinary construction details, together with their ambitious and optimistic outlook, make this feel like it may indeed turn out to be a dream commission.

The above interview with Peter Pennoyer 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Monday, 17 January 2011

M/M The Meaning of Life

Image: Créations visuelles CLHO™ © by Charles-Louis Orsini. Image provided for exclusive use and may not be reproduced with out written authorisation.

Friday, 14 January 2011

M/M A Question of Pockets By G. Bruce Boyer

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

A Question of Pockets

Written by G. Bruce Boyer for Manner of Man Magazine and Welldressed
I guess what got me thinking about pockets was looking at all those trendy field-and-stream coats, the parkas and hiking coats, military jackets and barn coats, the heritage signature collections. There were pockets everywhere. Huge bellows pockets and little teeny zippered pockets on their sleeves, hand-warmer pockets with snaps and flaps with Velcro tabs, and back flaps that become game pockets, bellows pockets hanging across the chest, pencil pockets within larger chest pockets and secret billfold pockets hidden in the lining. What were all those pockets used for, I kept asking myself. Just another egregious example of hyper-design, I kept thinking.

But then it struck me that I was sitting here in a three-piece business suit, and I’ve got more than a few pockets myself. I started to take stock. I started with my vest, which I find has four pockets, none of which seem to be very functional. Can they actually hold more than a car park ticket or a small tin of aspirin? Eyeglasses, wallet, and date book all make bulges, and add another inch or two to the torso. Rummaging I the pockets of my vest, I find nothing but a paper clip and a folded bit of paper napkin with a totally unfamiliar phone number written on it -- was it for business or pleasure I wonder?

My suit coat seems to have pockets everywhere: three on the inside and four on the surface. I always use the inside right chest pocket for my wallet. I learned that from watching pickpockets in old movies. They always go for the right inside pocket, which led me to understand that’s where the wallet is supposed to be kept. The inside left one I use for my pen and odd bits of paper like a bus or train schedule, letter I always forget to mail, the receipt from the ATM, or some brochure or flyer someone hands me on the street and I’m too embarrassed to refuse. Usually these flyers are promoting either a dry cleaners, Chinese take-aways, all-nude reviews, or some religious movement.

Below the left inside pocket I find I’ve got a small entry one -- a two-inch slit opening and two or three inches deep. I'm not exactly sure what this small pocket is for. People have told me various things ( this is all in the realm of hearsay, you understand): that it’s for business cards, a comb, a pen, or even condoms. I keep asking other men, and I find most of them didn’t even know they had a pocket there!

Back on the surface of my coat, I’ve got four pockets, two of them are symmetrically placed and with flaps. These two lower ones (one on each side at hip level) are convenient catch-alls for stuffing anything in that will fit: small Filofax notebook, paperback novel, cellphone, a breakfast roll. While stuffing the right-side one I usually catch my thumb on an ingenious little pouch hidden inside. This secret little pocket-within-a-pocket, about two inches square, makes a great place to store a few paper clips, or a folded bit of napkin with a phone number on it.

About three inches above that right-side lower pocket is a duplicate on in miniature. About 2 ½" across, my tailor tells me it’s called a “ticket” or “change” pocket, which would explain it’s use. I’m sure it’s a good place for those things, but it’s really a perfect place to store a small tin of aspirin. Not that I use aspirin regularly, you understand, but I carry it regularly for those special moments when prayer doesn’t seem to have as immediate an effect.

Above the left outside hip pocket, way up on the chest, is the fourth pocket. This is for a handkerchief: show, not blow. If I’ve got sunglasses I prefer to keep them there too, but usually the pocket is too deep for them, so they slither down and make an angular sort of bulge just above my waistline which looks rather like a surgeon had left an instrument in me.

Examining my trousers, I find I’ve got six pockets. Two in the rear, right one open for the use of a functional handkerchief, and left one buttoned and empty. I experimented with putting my handkerchief in the buttoned pocket, but eventually came to the conclusion there was almost no need to protect a cotton handkerchief from theft, and switched it back to the right side again.

I use the two side trouser pockets a great deal. For my hands, of course, although Mother said a gentleman didn’t do that sort of thing, and perhaps a few dollar bills. Deep in the right pocket is an additional little pouch hidden away (exactly like the one in the right side jacket pocket) which has been simply and brilliantly engineered to hold small change without having it roll out on the floor to make great clanging sounds at the wrong moment.

Finally, I discovered one day I’ve got a hidden two-inch pocket in the waistband of my trousers, midway between the fly and the right-side pocket. Since I’ve already got several pockets for loose change, I use this secret on-seam pocket for my door key. I mean, you can only carry so much small change, don’t you think?

Adding it all up, it seems an incredible amount of stuffing space for three garments -- seventeen pockets in all! If they were all used, you’d need a software filing system to keep track of it all. You’ve noticed of course the fellow on the train platform shaking his head while patting himself all over and finally turning all these little cotton bags inside out in the hope of finding something he’s become slightly panicky about. Talk of love and passion all you want, real ecstasy is discovering you haven’t lost your rail ticket after all.

Eventually I found it more and more difficult trying to distribute a growing number of personal items about my person, and took to carrying a bag to hold it all. Over the years a mere wallet, some folding cash, a handkerchief, and a pen have spontaneously generated into several pounds of paraphernalia: notebook, glasses, pens, business cards, half-a-dozen letters for the mail, commuter reading, sometimes a small tape recorder, a cellphone. My pockets have long since proved inadequate to the challenge, and I don’t even own an Ipod or Blackberry, or the other latest technology. Actually, there’s probably some small plastic micro-chip device that can do the work of all this stuff, and shine my shoes at the same time. I must look into that one of these days.

When I took to carrying the bag, I understood it had to be something unmistakably masculine. An old shotgun shell bag worked for a while, as did a small fisherman's duffel, but eventually I settled on a slightly smaller-than-average leather briefcase that resembles something in which a plumber might carry his best wrenches. I only wish I’d have gotten the larger size now, because the small bag’s already at the rupture point, and I haven’t even squeezed in the solar calculator, manicure kit, and travel umbrella.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Thursday, 13 January 2011

M/M To Insure Proper Service

Image of Pierre de Boucau in Lisbon, Portugal was provided to Manner of Man Magazine for exclusively use by Pierre de Boucau and is the property of the de Boucau family archives. Image may not be reproduced without written authorisation. All rights reserved.

Tuesday, 11 January 2011

M/M Leonardo da Vinci: Master Draftsman

Image courtesy of the author. All rights reserved

Review by Nicola Linza

World famous for their sublime beauty and technical virtuosity, Leonardo's drawings were avidly sought by collectors even during his lifetime. In this day of being flooded with inferior music and art in the mass media it is without question that Leonardo da Vinci remains an icon of Italian art history and a pillar of Western civilization.

So much of his work has been sadly lost or is in an unfinished state, one key to his legacy is found in the body of his extant drawings and accompanying manuscript notes which have survived.

Yale University Press released a masterpiece publication published in association with The Metropolitan Museum of Art to compliment the first comprehensive international loan exhibition of Leonardo's drawings in the United States. This book is the catalogue for the show held at The Metropolitan Museum of Art from January 22 to March 30, 2003 and the Musée du Louvre, Paris, from April 28 to July 7, 2003.

This handsome volume offers a unified and fascinating portrait of Leonardo as a draftsman, integrating his diverse roles as an artist, scientist, inventor, theorist, and teacher. A chronological framework is also provided in order to shed light on his extraordinary life and career.

The essays and entries are brilliantly written by the world's leading Leonardo scholars. They survey the wide variety of drawing types that Leonardo used, and also examine a small group of works by artists critical to his artistic development in Florence and to his multifaceted activity in Milan.

This is an invaluable source of information on Leonardo. The Codex Leicester is examined as are the much copied studies of grotesques physiognomies. There is a discussion of Leonardo's drawings in Milan and their influence on the graphic work of Milanese artists providing useful clues to his enormous influence on those artists as well as the best artists of today. Leonardo's graphic oeuvre is examined as is his early drapery studies.

An impressive catalogue if that is what one could call this masterwork of publication it is a must for Italian art scholars and art connoisseurs period. This is no lightweight work at 512 pp. 50 b/w + 200 colorplates with detailed descriptions of 138 individual works surveying the wide variety of types within his portfolio of work. This is destined to be a highly sought after volume.

M/M Dr Franz-Josef Paefgen and Mr Wolfgang Dürheimer of Bentley Motors at the Detroit Auto Show 2011

Monday 10 January 14:20

Speech by Dr Franz-Josef Paefgen
Chairman & Chief Executive of Bentley Motors

Good afternoon Ladies and Gentlemen and welcome to the Bentley stand.

It is a pleasure to see everyone here and testament to the importance of the Detroit Show.

2010 was one of the most important years in Bentley’s recent history. We launched no less than 3 new models; the Supersports Convertible seen here at the global media drive in Colorado; the all-new Mulsanne to which customers have been attracted in such great numbers that this year’s production is already fully allocated; and the brand new Continental GT – replacing the most successful car in Bentley’s history.

In terms of sales, 2010 was always going to be challenging as these new models would not deliver sales until this year. Despite this, there were some significant highlights.

• Globally, Bentley sales were up 11% to 5117.

• Even though in run out, coupe sales exceeded the previous year’s – thanks to strong demand for the Supersports.

• Regionally, there were significant variations; modest growth in the US, UK and Asia but clear signs of growing confidence; the Russian market returned to pre-recession levels; but Europe was held back by continuing economic uncertainties.

• The star performer was of course China. Bentley sales rose a massive 87% - cementing its position as our third-largest market but one which ultimately will become number one.

Here in the United States, confidence is now returning and sales increased year-on-year by 6% to 1531. And even more encouragingly, the last quarter’s sales were up over 20%, momentum we carry into 2011.

America’s best-selling model was the Supersports. The extreme Bentley attracted both brand loyalists and buyers who wouldn’t have considered a Bentley before.

The other strong seller was the Continental Flying Spur. Now in its sixth year, we sold more Spurs in 2010 than ever before. Like the rest of our Continental line up, it has the power of 12 cylinders, flex fuel capability and all-wheel drive to give exceptional performance and handling for a true four-door saloon.

For 2011, however, there are two exciting developments. First, the state-of-the-art in-car entertainment system from the new GT is now standard on the Spur. Also, the Series 51 design package which allows customers to order exclusive “off the peg” designs especially created by our colour and trim team, will be available on the Spur for the first time.

So we enter the New Year with great confidence. Our existing cars remain enduringly popular and have received improvements for 2011. It will be the first full year of sales for the new Mulsanne; and the new Continental GT is already garnering headlines and creating tremendous excitement amongst customers desperate to be one of the first to own one. All this means we expect significant double digit growth for Bentley in 2011.

Ladies and gentleman, today is a poignant moment for me. After nearly 35 years in the auto business, this is my very last motor show. From next month I will leave Bentley. I have spent close to 9 years in Crewe and they have been amongst the most rewarding of all my career. During that time, we have been back to Le Mans and won, made the Bentley State Limousine for Her Majesty the Queen, and seen the fruits of the VW investment in Crewe as we delivered a succession of new cars from the Azure and Brooklands to the Flying Spur, GTC and Supersports. And of course the new Mulsanne – which comprises everything we know about making cars.

But my career at Bentley has been book-ended by a car that has come to define the Company. I started by launching the first Continental GT. The car that transformed our fortunes.

So it is fitting that one of my last acts is to pass on a new Continental GT. This is a worthy successor to the original and true to the concept of a Grand Touring supercar which combines stunning performance with a sense of occasion yet has everyday practicality.

So we have a new GT for a new Chairman and Chief Executive. Mr Wolfgang Dürheimer joins in February but I am delighted he is with us today.

Ladies and gentleman, in Herr Dürheimer, we have the right man for the job. His experience and expertise as Head of Engineering at Porsche means that Bentley is in the very safest of hands.

Now there have not been many Chairmen of Bentley – only a dozen or so since W.O. Bentley himself - but it is a rich inheritance.

And nothing typifies that inheritance more than the keys to a very special Company car. In 1930, W.O Bentley created a car which epitomised everything he believed a car should be - the 8 Litre. It was the inspiration behind the Mulsanne you see here today – both are the finest cars Bentley could make. Of the 100 8 litres made, one was extra special – the second one was W.O.’s own company car. That car is now kept at our home in Crewe.

So today it gives me great pleasure to pass on the keys to that very car to our next Chairman and Chief Executive. The 8 Litre symbolises the obligation to be true to Bentley’s brand values. As W.O. put it, to create “a good car, a fast car, the best in its class”. Herr Dürheimer, I wish you and everyone at Bentley every success for the future.

Thank you.

Speech by Mr Wolfgang Dürheimer
Chairman & Chief Executive-Elect

Bentley Motors

Thank you Dr Paefgen and good afternoon Ladies and Gentlemen.

Let me first thank you all for your time today. It is good to be back in Detroit.

It is a privilege to be taking the leadership of a car company with such a rich heritage but also a very exciting future. It is an incredible opportunity taking responsibility for a Brand new to me, but one which shares with Porsche a devotion to engineering excellence, dynamic performance and a tradition of iconic design. I hope I can bring some of my wider personal and professional experience to Bentley.

Given my new responsibilities also include Motorsports for the VW Group, one quote from W.O. has already struck a chord. He said:

“No one ever attempted to dispute that competition success was the best way of selling”.

That has been true of Porsche and true of Bentley with its Le Mans heritage. Whilst that does not mean a return to racing, I recognise the importance of maintaining the traditions that have enabled Bentley to establish such a devoted and loyal customer base over the past 90 years.

Although I officially take up my new role in February, I have already had the pleasure of visiting Crewe and saw just why the Company retains such a pride in its origins. The commitment to quality, craftsmanship and enthusiasm that everyone there shares, is remarkable and a tribute also to the leadership of Dr Paefgen.

I am delighted he has agreed to stay on for a few months to help me learn more about Bentley so that I can continue the success, ensuring it remains one of the finest, most successful and most desirable high luxury brands in the world.

So my very first duty for Bentley is probably the most pleasurable I’ll ever have. And that is to welcome you all onto the stand for a glass of Champagne to toast the success of Bentley and, in particular, join me in celebrating the career and achievements of Dr Paefgen.

Thank you.

Monday, 10 January 2011

M/M The Force of Red Blood

Image provided courtesy of Gian Luca Bocache for exclusive use. All rights reserved.

M/M Manner of Man Magazine presents Baldassare Castiglione, Count of Novilara

"Consider what manner of man you wish to be taken for and dress accordingly."

Raphael Sanzio (Italian: Raffaello) Portrait of Baldassare Castiglione,(1483 - 1520) Oil on canvas, 1514-1515 82 cm × 67 cm (32 in × 26 in) Louvre, Paris, France and is shown with permission. All rights reserved.

Thursday, 6 January 2011

M/M Interview with Quinlan Terry

This exclusive interview with legendary architect Quinlan Terry of Quinlan and Francis Terry LLP was conducted by Nicola Linza and Cristoffer Neljesjö in Dedham, Essex during November and December 2010 and is reserved for private male members only.

We are privileged and honoured to include an epilogue, which is being reproduced from private communication between Nicola Linza and Quinlan Terry with the expressed written permission of Quinlan Terry.

Wednesday, 5 January 2011

Harris Tweed - a Romantic History

Special thanks to Stefan de Blanche

Monday, 3 January 2011

M/M Manner of Man Magazine Annual General Meeting

Image owned by Manner of Man Magazine. All rights reserved.

MINUTES: of the 2011 Annual General Meeting held [01/01/11] were circulated prior to the meeting and taken as read; Confirmed as a true record ...

- Manner of Man Magazine is owned and published solely by two people.

- No investment or PR firms are involved.

- We do not have a staff doing our work.

- Our interviews are not bought.

There being no further business to come before the meeting, the meeting is adjourned.

Nicola Linza
Cristoffer Neljesjö

M/M ZOLI Composite Card - Photographed by Chris Von Wangenheim - Designed by Bea Feitler

Image: ZOLI Composite Card - Photographed by Chris Von Wangenheim - Designed by Bea Feitler provided to Manner of Man Magazine and Welldressed by Tony Spinelli for exclusive use and may not be reproduced without authorization. All rights reserved.