Textures & Tones No.2: The Fall Flannel Guy

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THE SUN IS feeling just a little bit weaker. In the world outside the greenhouse, the leaves are about to turn. And everyone begins to look forward to the colors of fall. All that, of course, and the richer, heavier reds paired with your favorite stews: beef bourginon. Lancashire hotpot. A meaty spaghetti Bolognese.

All well and good. But what to wear now that you’ve retired your flip-flops, shorts and swim trunks? It’s not yet time to wrap up fully, after all, but it is soon to get crisp enough that it’s high time to dust off something to mask all that good food and wine you’re about to dive into.

 For me, that generally means a good, heavy-ish brushed-wool flannel: soft. Warm. Elegant. Remarkably rakish when cut correctly, even with a pair of your favorite slim-cut jeans and a light pullover. Think 10-ounce for October, then heading into the 12-ounce range before it really starts to get cold, when it’s tweed time.

 Flannel like this is a perfect staple for the weather and pairs well with layers to create an elegant yet casual look. Go for a plain gray or blue, or perhaps both if you feel like a splurge. A well-made one will stand the test of time, so try to snag something made with cloth from Dormeuil, the best money can buy.

ABOUT THE FALL GUY

Duncan+Qinn+NYCDuncan Quinn is a London native and New York City transplant who is a bon vivant, gastronome, imbiber, speeder and arguably one of the handful of people responsible for the resurgence of men’s tailoring in the United States in recent years. He has always had a passion for the persuasion of perception and a keen eye for cut, shape, color and form. He’s also been known to throw the occasional party.

Everything Duncan does is a reflection of his travels and experiences, his joy in learning new customs, places, methods and views, and his sharp attention to detail, proportion, color and cut.

When he has a spare moment he likes nothing more than to sit and watch the world go by in the Cours Saleya, Nice, France.

 

[This post originally appeared at DuncanQuinn.com, and is published courtesy of our friend Duncan Quinn.

Read the original post here.]

 

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Collectors GPQ&A No. 33: Mario Chalmers

MARIO CHALMERS
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Mario Chalmers-SQUARE

We find that notable people often share some of their most memorable characteristics, from the trivial to the profound — and those things that are unique to them are equally revealing. To scratch the surface, we present the GPQ+A. —The Editors

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SPECIALIZED + MCLAREN: S-WORKS MCLAREN TARMAC BICYCLE

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PICTURE A FANTASY GARAGE — one containing a McLaren, Maserati, Lamborghini, Aston Martin, perhaps even a Morgan — and then imagine that the only engine in that garage is… well, you. Your conveyance options are therefore limited.

That’s hardly something to regret, though. The past few years have seen a remarkable number of bikemaker/carmaker collaborations, many of which MoS has reviewed. We’ve saved the best for last, however: S-Works’ McLaren Tarmac Bicycle. Although the line was announced just six weeks ago, all 250 of these limited-edition “superbikes” are already spoken for. But we suspect this line won’t be the last from this partnership.

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Now Read This No. 5: Impossible Collection of Watches

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THE IMPOSSIBLE COLLECTION OF WATCHES is the latest book from one of our favorite publishers, Assouline, and author Nick Foulkes, MoS’s own Girard-Perregaux 223 Years of History columnist. Mr. Foulkes is also the cofounder of Finch’s Quarterly Review, luxury editor of British GQ and contributing editor to both the Financial Times and U.K. Vanity Fair. 

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Blue Chip Chinese Contemporary Art Market

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AS ART PRICES return to pre-recession levels, contemporary works by both Western and Chinese artists have seen record sales. Despite stellar auction results, however, a huge price gap remains: Last November, Francis Bacon’s Three Studies of Lucian Freud became the priciest piece of art ever sold at auction, at $142.4 million, while Zeng Fanzhi’s The Last Supper holds the contemporary Chinese record at a modest-by-comparison $23.3 million. Prices for other top Chinese artists, such as Zao Wou-Ki, Zhang Xiaogang and Chu Teh-Chun, lag those of their Western peers as well.

That discrepancy might not be so vast for long, though. As the record-setting Christie’s New York auctions this May indicated, a growing number of wealthy Chinese collectors is a major factor in sky-high Western prices — and the art of their countrymen is not far behind on their wish list.

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Fang Lijun’s set of six woodblock prints entitled 1999.3.1

Christie’s May 13 auction of postwar and contemporary art netted $745 million — the highest-ever total for a single art auction — thanks in large part to Chinese buyers. The New York Times reported that half of the evening’s top 10 pieces were snapped up by Asian buyers who placed phone bids with Xin Li, deputy chairman of Christie’s Asia.

Overall, avid Chinese collectors have engaged — and frequently conquered — key global art-world figures in fierce bidding wars. Top lots picked up by mainland Chinese include Bacon’s Three Studies for a Portrait of John Edwards ($80.8 million), Jeff Koons’s Jim Bean—J.B. Turner Train ($33.7 million) and Alexander Calder’s Flying Fish ($25.9 million). This past spring, a Chinese telephone buyer landed Monet’s Water Lilies for $27 million at another Christie’s New York auction, while billionaire Wang Jianlin paid $28 million for a Picasso painting last November.

Meanwhile, a larger contingent of blue-chip contemporary Western artists such as Koons, Chris Wool, Jean-Michel Basquiat and Joan Mitchell often sell for prices that in Asian auctions are reached by only the top one or two pieces. The top 10 lots of Christie’s May auction ranged from $4 million to $18 million, with sales of mid-range works by Koons, Basquiat, Andy Warhol, Peter Doig and Martin Kippenberger among the highlights. By contrast, no contemporary Chinese work has sold for more than $25 million, while Koons, Wool and Jasper Johns — the most expensive living American artists — have seen record sales of $58.4 million, $28.6 million and $26.5 million, respectively. Likewise, many pieces by young Westerners who have never had a museum show have sold for prices far higher than those of established Chinese artists.

Chinese art is unlikely to remain so (relatively) inexpensive for long, however. For now, Chinese contemporary is a bargain compared to Western work, but that will change as more Chinese collectors emerge. Recent record sales such as Zeng’s Last Supper were influenced by the fact that collectors are holding on to the most important Chinese art with an eye on new collectors and the market’s potential.

Anyone looking for the next big art-investment opportunity should therefore regard contemporary Chinese work as a solid bet. Christie’s demonstrated that in May, and it’s not the last time it’ll happen. That makes now the time to buy for savvy bidders.

[Art + Article Re-Posted from Jingdaily.]

[Opening Art: Zeng Fanzhi’s Mask Series 1997 No. 17]

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Letter from Paris No. 3: Gastinne Renette

 
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As early as the mid-nineteenth century, Girard-Perregaux maintained offices in New York, Buenos Aires, Yokohama and, of course, La Chaux-de-Fonds, Switzerland. In that globetrotting spirit, MoS will publish regular dispatches from its offices and boutiques abroad — covering lifestyle and culture, regional events and exhibitions, and offering insider insight about what’s trending now from the four corners of the world. — The Editors 

GP ‘Letter from’ London No. 3: The Sahakian Lounge

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As early as the mid-nineteenth century, Girard-Perregaux maintained offices in New York, Buenos Aires, Yokohama and, of course, La Chaux-de-Fonds, Switzerland. In that globetrotting spirit, MoS will publish regular dispatches from its offices and boutiques abroad — covering lifestyle and culture, regional events and exhibitions, and offering insider insight about what’s trending now from the four corners of the world. — The Editors

MoS DIY Good Life Guide: Highland Home Cookin’

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THERE IS A style of cooking in which skilled chefs turn the raw material of the market into a feast for the eyes, palate and soul. The difference between a mere meal and a true epicurean experience is easy to feel, but difficult to find in an unfamiliar city — so with that in mind, MoS presents “Good Life Guides.” However, this particular DYI Good Life Guide series is all about honing your home-cooking and entertaining dexterity — carry on. — The Editors

MoS DIY Good Life Guide: Gentleman’s Relish

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THERE IS A style of cooking in which skilled chefs turn the raw material of the market into a feast for the eyes, palate and soul. The difference between a mere meal and a true epicurean experience is easy to feel, but difficult to find in an unfamiliar city — so with that in mind, MoS presents “Good Life Guides.” However, this particular DYI Good Life Guide series is all about honing your home-cooking and entertaining dexterity — carry on. - The Editors

You’ve probably never heard of Gentleman’s Relish, but that’s because it’s an English gent’s secret. Nick Hammond tells the sordid tale…

 PICTURE THE SCENE: A pot is bubbling over a crackling open fire, jungle drums are beating out a tattoo and savages dance and whoop in a ring around our hero as he waits for his final meal.