Monday, 28 February 2011

M/M Interview with James Swan

Image of James Swan provided to Manner of Man Magazine/Welldressed for exclusive use and may not be reproduced without prior written authorisation.


This exclusive interview with James Swan was conducted by Nicola Linza and Cristoffer Neljesjö in Maine during February 2011.


You have authored a highly unique book soon to be released, titled “101 Things I Hate About Your House,” please describe the inspiration behind the project.

My new book, “101 Things I Hate About Your House” took it’s shape from my feeling that the last thing the world needed was one more glossy, four-color, over-sized design book. Nothing against the great design books of the world, many of which I’ve collected over the years, but I had no desire to add to the fray. It had been done. Then it occurred to me that something that had not been done was to take a humorous look at the foibles, follies and gigantic decorating mistakes made in homes today. A majority of home-makers will never work with a design professional and yet, they aspire for their homes to be as beautiful as possible. It occurred to me that a bit of laughter might encourage people’s defenses to drop, allowing learning to take place, hopefully followed by positive change. I think it was Mark Twain who said “against the assault of laughter nothing can stand”. I believe this includes bad taste.


How would you describe your personal style?

In my homes or manner of dress my personal style is a combination of strong, classic elements mixed with visceral comfort; a bit like favorite jeans worn with a bespoke cashmere blazer. The elegance is in combining the best of opposing worlds.


Do you have a particularly favorite designer, item or room from the past that inspires you to this day?

Years ago I saw Horst’s photographs of Cy Twombly’s apartment in a Roman Palazzo. To me these images represent a perfect blending of high style, fine art and relaxed elegance. I’ve never forgotten these images and draw inspiration from them regularly.


As a designer, what is the single most irritating issue you encounter on a regular basis in bad design?

I love rooms filled with pools of gentle, painterly light. Sadly, lighting is badly mishandled in most homes today. Exposed bulbs, unflattering positioning, randomly punctured ceilings and poorly selected fixtures make interior illumination a frightening prospect. In chapter four of “101 Things..” I ask why everyone looks so lovely in Merchant Ivory’s films. It’s the candlelight; an effect rendered impossible to duplicate with 100 watt bulbs blazing in every lamp, sconce, chandelier, and recessed can in sight! My kingdom for dimmers on everything!


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?

For a party hosted by Luchino Visconti I would select a charcoal colored wool, two button, double vent suit with a black cashmere v-neck sweater. I would pass on socks but would wear my favorite black suede Gucci loafers. A stainless steel Rolex would be on my wrist. I am on the look out for Marisa Berenson, Ingrid Thulin and Nicky Haslam.

The above interview with James Swan 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission.

Sunday, 27 February 2011

M/M Joe Dallesandro 1974 Andy Warhol's Dracula

Image of Joe Dallesandro from Andy Warhol's Dracula provided to Manner of Man Magazine by Joe Dallesandro from his private collection for exclusive use and may not be reproduced without prior authorisation. All rights reserved.

Friday, 25 February 2011

Wednesday, 23 February 2011

M/M Don't offer me advice; give me money.

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

Monday, 21 February 2011

M/M Napkin Thoughts in A Bar

Photograph by Fabrizio Scarpa and may not be reproduced without written authorisation. All rights reserved.

Napkin Thoughts in A Bar

Anthony Haden-Guest talks with
Nicola Linza and Cristoffer Neljesjö
of Manner of Man Magazine

Anthony Haden-Guest: The cover of TIME or maybe if was NEWSWEEK proposes that humans will become immortal in 2045. Can this possibly be a desirable situation? A legitimate question, even if I misunderstood the coverline.


Manner of Man: Yes, it was Time that put that on the cover. You did not misunderstand it at all. The real question is the play on the word immortal, and if it is desirable to us as men. Is it? Hell no. We could not care less about personal publicity. It’s all about the work. We’d rather go under first, before the world beats us to it. In terms of our work? Our work is timeless therefore immortality is assured one way or another, like it or not.


AHG: We live in a 3D world. Why does black-and-white look more real? Or does it only look more real to me?


M/M: Well, that is because black-and-white is more real in a world dominated by fast technology. It isn’t just more real to you Anthony; we view it the same way because it often relates to memory. Black-and-white is very much like Proust’s writing, À la recherche du temps perdu aka In Search of Lost Time or Remembrance of Things Past . It is a way of seeing that refers one to memories yet also keeps one constantly cognizant of true quality. That is why we decided on a black-and-white logo for Manner of Man Magazine and designed the overall graphic look of the magazine as a 19th to early 20th century print publication.



AHG: Are the American Far Right decent folks who just happen to believe some very strange things?

M/M: That is open to interpretation because we feel there are many decent folks in all areas that happen to believe some very strange things.


AHG: Would you want to join a club that lets in people like you?

M/M: Of course, contrary to what Groucho Marx said, absolutely. Manner of Man Magazine provided the club grounds, and our contributors established the club. We feel we are in fine company.


AHG: The rich have not been richer, the poor poorer since feudal times. Are we in a pre-revolutionary situation?

M/M: Do you mean mentally or financially? The rich are richer, and the poor poorer both mentally and financially due largely to their own level of addictions.


AHG: Will neckties ever come back? Or trouser cuffs? Suits look really stupid without them.

M/M: It is a matter of personal style. And it is something that fashion and trends cannot dictate. We have placed Manner of Man as a brand geared toward the confident and independent man. It's for the guy who carries himself with a personal nonchalance mixed with an I don’t give a fuck elegance. He is the man all truly cool men want to be deep down ...he is at once both angel and devil.


AHG: Drink, drugs, casual sex. So what do you think about them?

M/M: Anthony, are you still in Studio 54? We agree with Oscar Wilde who said, “I like persons better than principles, and I like persons with no principles better than anything else in the world.”


AHG: You're offered a role on Reality TV. Do you take it? Okay, do you take it if it's a health risk?

M/M: In fact, a year ago we were offered a television program for Manner of Man by a major West coast talent agency. Did we take it? No. There were no health risks involved however Reality TV poses too great a risk to our particular brand.


AHG: So why DIDN'T painting die like we all thought it was going to in 1968?

M/M: Painting didn’t die in ’68 because quality, authenticity, genuine talent and tradition were not fully addressed by ’68 art. The times and the genre of the period had to do much more with issues outside art including mass communication. It was authentic in the sense that politics, advertising and familiar imagery were raised to the level of fine art as well there were installations that addressed human sensations in attempts to break new ground. It was wild stuff but not Rembrandt; it just required wit and a bit of conceptual bullshitting. Art dealers loved it because it was an avenue to generate new fast product. It brought the entire idea full circle. Therefore, painting didn’t die because man realized that it was that particular medium of fine art outside of the ’68 scene that addressed human vision. Painting represents man’s ability to translate that vision in a personal way via the physicality of paint that other ways and means could not. History and current auction house sales have proven this as fact.

The above conversation with Nicola Linza and Cristoffer Neljesjö of Manner of Man Magazine 2011 © Anthony Haden-Guest. All rights reserved. Reproduction is strictly prohibited without written permission.

Saturday, 19 February 2011

Nanos Gigantium Humeris Insidentes
























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

Thursday, 17 February 2011

M/M Interview with Gil Schafer III

Image of Gil Schafer III provided by Gil Schafer for exclusive use. All rights reserved.

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

This exclusive interview with Gil Schafer III, AIA of G.P. Schafer Architect was conducted by Nicola Linza and Cristoffer Neljesjö in New York during February 2011


Interview with Gil Schafer III, AIA


Why did you choose to be an architect?

From my earliest memory, I wanted to be an architect—or at least to make buildings, before I knew what that was called. I came from a family of architects (grandfather and great-great grandfather), but also from parents who were always building. So, I was around construction a great deal growing up and found it thrilling. And of course there was the usual obsession with Lincoln Logs, Lego’s and wooden blocks.


As opposed to commercial work you clearly have a penchant for residential architecture and interior design. What draws you to this area of focus?

I don’t have a good academic answer for this one—perhaps Freud will do better. I grew up in and around some wonderful (old) houses and for some reason I was drawn to their scale and detail and then continued to be intrigued, even as I advanced in my education, by solving the problems of planning a good house. Also, I love landscape and interiors; designing houses gives you more opportunities to work on all three (architecture, decoration, landscape) simultaneously and in real detail. I think a successful house demands that its architecture, decoration and landscape be in synch. When you work on houses, you begin to understand how important—and integral—decoration is to the design process because houses have to be livable and comfortable and those qualities aren’t coming only from the architecture.

I also love the interaction with clients at a level that only happens when you are designing a residence. You get the chance to create places for people to enhance their lives and to make their own memories. I just came from visiting a house that we completed a couple of years ago for a young couple with three small children. (You can see it in the new, March, issue of Veranda, BTW.) It was a grand—but not too grand—old house designed originally by Charles Platt but then badly renovated over the years. We took it completely apart and put it back together again as though Platt were called back for the assignment. But we also paid close attention to the needs of a young dynamic family with children and, working with David Netto who did the decoration, created something that is classical and dignified, but also has a real contemporary spirit to it and functions the way a young family needs it to. I tell the story because being back in the house last week, now that the family is living there, I could see all the ways they had made it very much their own and were now enthusiastically calling it “home”. What could be more satisfying than that?!


Your work exhibits a strong connection to place and context, which in traditional architecture is very important. Do you feel that is a factor in work being timeless?

I think that for any architecture to be rooted in its site, it has to take notice of what’s around it. That is certainly true of traditional architecture, but I think architecture of any style is more meaningful when it establishes some relationship with its context—even if it is to ultimately contradict that context. Creating a sense of place is so important to my work, because I believe that when you are making a home for a family, it has to resonate beyond the building itself. It is the entire environment that becomes the thing that is a catalyst for memorable experiences. That really only works when building and context are unified in one composition. A house that is well-rooted in its context will also feel as if it “has always been there”, and that inevitably gives the work a certain timeless quality.


Please describe what timelessness of design means to you.

No gimmicks! Because we try to avoid gimmicks in our work and utilize a language of design that is rooted in history, I believe our projects stand the test of time better—they have an inherent timelessness that sets them apart from more fashion-oriented, trendy approaches to design. The classical language of architecture has endured for thousands of years precisely because it can be reinterpreted and reinvented in every age, but it still retains fundamental principles of proportion and detail within each transformation. That language allows us to create work that connects to our past but also answers the questions posed by the demands of contemporary lifestyle today. The fun of it is in figuring out how to use the language to do that.


Traditional architecture has come back in vogue in the past 20 years. Is this a societal trend and/or do you see the larger public in general reawakening to the honest value of classical design?

When I was in school, if you looked back to history in your work, it made people really nervous—like there was something wrong with you, or you were politically suspect. I now think classical/ traditional architecture is much less burdened by all that baggage. People are not as fearful of expressing a connection to the past as a way to think about the future—the past and the future don’t have to be mutually exclusive ideas. So, yes, I think there has been a general reawakening to the inherent value of tradition. For a lot of people, building a house means connecting with your own memories and traditions, and traditional architecture makes it possible to tap into that more easily—makes it possible to make a connection between past memories and the new ones that will be made in a new house. You can’t underestimate the power of memory.

I also think that in this recession-ravaged time, we look for lasting value wherever we can find it. There is a solidity and permanence to classical and traditional design. Its timelessness also makes it a good investment.


Please describe your personal style.

Not surprisingly, I like classic tailoring with subtle flair. For work I generally favor Italian interpretations of the classics: soft/rolled-shouldered, well tailored, beautifully detailed, hand made suits and sport coats by Isaia, Belvest, Kiton. Shirts and ties by Charvet. Trousers by Incotex. Shoes by Gravati, Crocket & Jones, Magnanni. For weekends: Cucinelli, Barbera, Zegna, J. Crew.


What are your thoughts on contemporary architecture executed in so-called cutting-edge designs?

Probably because I have loved architecture since I was a child, I have spent a lifetime looking at and being inspired by buildings—all kinds of buildings, classical and modern. So I can get excited about a beautiful modern building as much—or almost as much—as a classical one. But it has to be designed with rigor and executed with craftsmanship and elegance. It has to be beautiful.

I am always troubled by architecture today that wants to express, celebrate even, the dislocation, randomness and violence of contemporary life. The architecture that has meaning to me is a haven, a refuge, an alternative to those dislocating forces which we come up against every day in our lives. Who wants to come home at the end of a hard day and do battle with the harsh realities of the human condition all over again in our living room?


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

Wednesday, 16 February 2011

Knowledge is Power
























Images provided to Manner of Man Magazine/Welldressed by Scabal for exclusive use and may not be reproduced without written authorisation. All rights reserved.

Tuesday, 15 February 2011

M/M Interview with Don Rafael de Medina y Abascal, 20th Duke of Feria

Image of Rafael de Medina y Abascal, 20th Duke of Feria by Rafeal Bajas provided for exclusive use. All rights reserved.


This exclusive interview with Don Rafael de Medina y Abascal, 20th Duke of Feria was conducted by Nicola Linza and Cristoffer Neljesjö in Madrid, Spain during February 2011


Coming from an old family, how has the history and tradition influenced your upbringing and life?

I was raised and educated in New York, Pennsylvania and Washington D.C. Left my home town Seville at a very early age, 11. The history and tradition of my family has been there for over 500 years and it is an honor to know that I belong to it. It wasn´t until a little bit later on in life when you realize the tremendous importance of your family´s heritage in the history of your country.


You became the 20th Duke of Feria at a very young age, what does the title mean to you?

It´s an honor to have a title that has accompanied over 4 centuries my family. It´s also very sad that it was due to the death of my father 10 years ago. I try my best to set an example on my personal life as well as professionally, in order to leave the title as it best to generations to come.


Some might say that the contemporary world has had a negative impact on accepted social graces. Do you agree or has it just strengthened them?

The contemporary world might have erased some of the old traditions. However, it cannot erase the history and what we represent or stand for. I think new power, social, cultural, economic, and political lines are drawn now a days in the world and we have all had to adjust to them and set an example. Being in constant disagreement with the rest of the world I think is a waste of time.


Tell us about your career, you began working in finance and later quit to start your own clothing business.

I graduated from University in Washington D.C and started to work for a hedge fund in NY. Then moved to Madrid to work for a team at Credit Suisse Private Banking. After 4 years I developed some ideas with a few old time friends that enabled us to start a project related to men’s fashion. Such a project was impossible without funding. We had no investors or people that believed in it so we started to work on it directly by selling ties B2B and making bespoke shirts delivered at home or office. Almost 4 years later we have 12 stores in Spain, over 30 multibrand stores and the idea of growing still on 2011 especially abroad.


What is your ambition with Scalpers?

Grow in brand recognition, settle the business model in Spain and explore the possibilities abroad in the medium long term.


How do you enjoy your free time?

Doing lots of sports (running, cycling, ski, swimming, etc.,) enjoying nature, enjoying a good lunch or dinner with a nice wine, travelling abroad…


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?

Very simple, relax shirt, relaxed pants & jacket. Rome is a relaxed city, no need to over dress. Would love to meet great actors from the 30´s and 40´s. TOTO.

 
The above interview with Don Rafael de Medina y Abascal, 20th Duke of Feria 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher. 

Monday, 14 February 2011

Friday, 11 February 2011

M/M The State Hermitage: Masterpieces from the Museum's Collection - Architect, Francesco Batolomeo Rastrelli


The State Hermitage: Masterpieces from the Museum's Collection
Mikhail B. Piotrovsky (Author), Geraldine Norman (Author)
Slipcased: Double Volume 
Hardcover: 1572 pages
Publisher: Booth-Clibborn (October 1, 2001)

Book Review by Nicola Linza
 
In 1716 a Paris born Italian genius named Francesco Batolomeo Rastrelli came to St. Petersburg, Russia to work with his architect and sculptor father Carl-Bartolomeo Rastrelli. In 1741 when Russia’s Elizabeth ascended the throne, Francesco became her court architect. 13 years later a Winter Palace for the tsars better known today as the Hermitage was developed by Rastrelli [1746-52] on the River Neva. The foundation of what was to grow into the now famous Hermitage collection of art was laid out in 1764 when Empress Catherine the Great made the first large acquisition of Western European paintings. Today Francesco Batolomeo Rastrelli’s architectural masterpiece is renowned not only for its sublime design but for the glorious cultural treasures of art within its aristocratic walls and Booth-Clibborn Editions brings back to publication a glorious slipcased double volume set which documents its sublime holdings in glorious detail.

The State Hermitage presents a very impressive collection of works including early Picassos, Matisses, and Impressionist pieces extended by works included in the eastern wing of the General Staff building, the Menshikov Palace and recently the Hermitage constructed Repository. Staged within the walls of Rastrelli’s glorious architecture The State Hermitage documents the unique collection of cultures in the vast buildings of the Museum - the Small, the Great and the New Hermitages, the Hermitage Theatre, the General Staff building and the Menshokov's Palace.

Russia’s aristocrats held a passion for collecting works of quality and creativity during one of the last true groundbreaking periods in the arts - prior to the Russian Revolution. The events of the Russian Revolution, and subsequent Soviet takeover, changed much in Russian society, one of its strongest cultural impacts was on the art treasures held at the time. Patrician families collected the finest works of art the world had to offer at an unparalleled rate and scale. The 18th and 19th centuries proved to be a very active period of their collecting which lead to the enormous holdings. After the revolution the Soviets sold many nationally held treasures from these famous private collections to raise "fast" cash. The idea of selling off museum acquisitions in the manner that they did may have the appearance of creating a massive cultural disaster yet fortunately for the world the Hermitage collection did not fall prey to ruin. After four years in preparation the impressive publication The State Hermitage is back in print by Booth-Clibborn Editions. The refined double-volume publication presents a complete view of the institution with a foreword by Professor Mikhail Piotrovsky, and an extensive introduction by Dr. Vitaly Suslov which together presents an intelligent, scholarly, and very readable text closely following the stunning photographic record.

The Booth-Clibborn Editions publication is an amazing presentation covering periods from the Orient, Ancient Greece, the Roman Empire, English, French as well as Dutch works of the 18th century to Modern masterworks. The State Hermitage is a fitting tribute to the treasures of one of the world's greatest institutions of art and architecture. Beautifully designed by David Hillman at Pentagram and published by Booth-Clibborn the two-volume set features lavishly-reproduced works of art including famous paintings by artists as varied as Leonardo da Vinci, Van Gogh and Kandinsky, and lesser-known pieces that have never been published. There are few things on earth that create a true grand splendor, The State Hermitage is a one of them in person, and now again in print.

Thursday, 10 February 2011

M/M Interview with Anthony Haden-Guest

Image of Anthony Haden-Guest provided by Mr. Haden-Guest. All rights reserved.

This exclusive interview with legendary British journalist and socialite Anthony Haden-Guest was conducted by Nicola Linza and Cristoffer Neljesjö in London during February 2011


Interview with Anthony Haden-Guest


Who is Anthony Haden-Guest?

I have decided the best thing I can do is rewrite an autobiographical verse by Edward Lear. It was also once rewritten by TS Eliot so I am on the shoulders of giants here!

Is it pleasant to meet Haden-Guest
When he’s at the top of his game?
Some think that he’s rather a pest
Some others … well, they think the same.

He writes quite a lot. He ain’t frugal
Occasionally it even rhymes
But why not go check him on Google?
We live in such transparent times

His drawings, well, they are quite various
Just what will he come up with next?
Some find them wildly hilarious
Others are mildly perplexed

He drinks wine but much less than he used to
He soon found that drugs were a bore
He knows he has not yet seduced you
But you don’t seriously want any more?


You recently released your latest work, titled “In the Mean Time,” please give our readers your inspiration for doing the book.

I hugely enjoyed being a magazine writer in the Age of Magazines. Well., the Internet has put paid to that and it is such changes and far more important ones – Jane Goodall once told me that we had ruined the world in our lifetime – that unstoppered the energy that went into this book. And the energy will, I hope, keep pumping.


If you had to select one photographer to take a formal portrait, whom would it be?

Well, Irving Penn has dropped off the perch. Any Magnum photographer. Or David la Chapelle. Hello David!


If you had to do it all over again would you change anything?

I think I’d do much the same but more of it. And much more quickly!

But would I know for my second shot time at bat what I know now? Now there’s a thought! If so, I quite definitely would not have gone out with … too late!


We are going out for drinks and the choice of city and location is all yours. Where are we going? What are you drinking? How do you see the night ending?

We’re in Venice and I’m drinking red wine. I want the ending to be a surprise.


How would you describe your personal style?

Open. And a kind of cheerful pessimism.


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?

Omigod! This is embarrassing. Do I have Engelbert Humperdinckish sideburns yet. Probably not yet, they came a bit later. A safari jacket from Rive Gauche. Or a navy blue shantung silk jacket from Ah Man Hing Cheong behind the Mandarin in Hongkong. Flared Levis (not the whole elephantine bellbottoms), the desert boots that Private Eye mocked, a polka-dotted scarf, I said this was embarrassing.

Rome in 1970 wasn’t the Rome of La Dolce Vita – London had grabbed that torch – but it was great. Who do I want to meet? Somebody tremendously interesting or tremendously amusing or tremendously sexual. Preferably – dream on! – all three.


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

Tuesday, 8 February 2011

M/M National Gallery Catalogues: The Sixteenth-Century Italian Paintings, Volume 1: Brescia, Bergamo and Cremona


















Image courtesy of Yale University Press. All rights reserved.

Review by Nicola Linza

The Sixteenth Century Italian Paintings, Vol. 1 created by Nicholas Penny for the National Gallery in London (distributed by Yale University Press) is an essential tool that will aid fine art scholars, curators, art restorers, and serious connoisseurs of Italian art.

The cover states, "The National Gallery Catalogues, the first of which appeared in 1945, have been justly regarded as among the foundation stones of scholarship in art history. This series is now being completely revised and extended. Within each School of painting, every picture is the subject of a full scholarly entry with discussion of technical matter, subject, authorship, provenance and art historical significance, and each volume is fully illustrated. The artists include Lorenzo Lotto, Moretto, and Moroni, along with less familiar ones such as Bartolomeo Veneto and Callisto Piazza. Distinguished scholar and curator Nicholas Penny provides detailed information about each artist's painting technique and materials, conservation and condition, and subject and iconography. What is important is the inclusion of the painting's original patronage followed by a discussion of changing tastes, interpretation, and how the picture was esteemed (or neglected) over the centuries."

An interesting and important educational aspect included in this work is the detailed descriptions of frames and framing which reflects the growing interest in the field of antique frames among both curators, and private collectors. The information included in this particular work on frames and framing provides a solid base for both curators and private collectors to expand their knowledge, and distinguish to a degree on their own merit which frames reflect true rarity and quality, craftsmanship; an ultimate base for having the power or quality of deciding real value. This comes at an important time when select dealers have emerged to market so-called rare 'antique' frames once a reasonable addition to compliment a fine painting, today honest (as well questionable) antique picture frames are being offered (and sometimes reported sold) at extraordinary prices - at times, surprisingly exceeding the value of the work being framed.

One third of the paintings catalogued are portraits. Entries include fascinating sections on contemporary dress, furnishings, and accessories. The volume also includes an appendix providing an illuminating account of some of the great collectors, and collections of the past.

The Sixteenth Century Italian Paintings, Vol. 1 has been highly anticipated in the art world as an important catalogue encompassing Italian artists active in cities often characterized by artistic interaction between artist and city, and the overall influence Venice had on both, cities including Bergamo, Brescia, and Cremona. The volume also contains biographies of the artists providing valuable information for the researcher and collector alike, as little is known of some of those included. These biographical sketches of the artist's character and career are a useful source to a comprehensive understanding of the artist's entire oeuvre.

Alain Delon 『PLEIN SOLEIL』

Cartier SIHH 2011 - Calibre de Cartier Multifuseaux

Sunday, 6 February 2011

M/M Henry Marie Joseph Frédéric Expedite Millon de Montherlant

"Se faire des amis est une obligation de commerçant alors que la recherche d'ennemis est un luxe d'aristocrates"

...Henry de Montherlant






















Henry de Montherlant quote special thanks to Loïc Amauger Lascombe. Image of Henry de Montherlant property of a private collection. All rights reserved.

"Making friends is a bond trader while in search of enemies is a luxury for aristocrats"

...Henry de Montherlant

Saturday, 5 February 2011

M/M Adrenaline: Manner of Man Magazine


Adrenaline, a photo shot by Sam Scott Schiavo exclusively for Manner of Man Magazine.

Photo: Adrenaline with model Patrick M. @ Stella Models shot exclusively for Manner of Man Magazine by Sam Scott Schiavo and may not be reproduced without written authorisation. All right reserved.

Friday, 4 February 2011

Wednesday, 2 February 2011