I LOVE NICE THINGS.

Fixed Glass Moonroof Option At a Glance: Years Available: 1977-1979 Model Availability: All Lincoln Continental 2-Door and 4-Door models (except Mark V) Option Price: 1977: $954 (early production); $960 (later production) 1978: $1,027 1979: $1,088 Glass Tint Colors: (Researching) Dimensions: 31" on 2-Door models 23" on 4-Door models Number Built: 1977: 2-Door models 1,347; 4-Door models 1,591 1978: (Researching) 1979: (Researching) In what would have to be considered one of the more unusual options offered by Lincoln in the late seventies, the Fixed Glass Moonroof was made available for those who desired the additional light and views a glass panel roof would offer, but without any of the potential drawbacks (like wind noise and the fear of water leaks) that a power-operated Moonroof that opened and closed might present. Despite being offered for three years, the fixed glass panel is very rare in comparison to the one that opened to admit fresh air. Apparentl...

Her father is Jonathan Guinness, 3rd Baron Moyne, and the eldest son of Diana Mitford Mosley and Bryan Guinness. Diana was the daughter of David Freeman-Mitford, 2nd Baron Redesdale, the father of the celebrated Mitford sisters. Guinness's mother, Jonathan's second wife, was Suzanne Lisney (died 2005), of Cadaques, Spain, and Paris. Lisney was an artist and muse to Man Ray and Dali. When Daphne was 13, she became aware that she had a further three half-siblings by Susan "Shoe" Taylor, her father’s mistress.[1] Guinness is the granddaughter of The Hon. Diana Mitford, who first married Bryan Walter Guinness. Mitford divorced Guinness and married the leader of the British Union of Fascists, Sir Oswald Mosley. Daphne has said she did not know of Mosley's political affiliations, before she heard, in 1980, on the BBC news that he had died.[1] Her great-aunt Jessica gave her a taste for music, literature and politics. Jessica Mitford's causes included her involveme...

Mmm Mmm Guinness You could say she was born a household name, but Daphne Guinness was always something of a fashion-world secret…until this year. When the brewing heiress recently dyed her signature badger-stripe hairdo jet-black, it caused gasps around the blogosphere. In October, meanwhile, she opened Giles Deacon's Spring 2010 runway show in Paris, and she just landed the ad campaign for Akris' debut handbag collection, shot by her collaborator pal Steven Klein. The way Guinness worked those Alexander McQueen lobster claw platforms at the party she co-hosted for François Nars' 15x15 book, the designer should consider putting her in his campaign, too. We doubt she'd turn him down, but she has bigger things in mind, i.e., building brand Daphne. Presumably, all of this exposure isn't hurting sales of her limited-edition Comme des Garçons fragrance.

where do we go from here? That is the title of the group show opening tonight and representing the first American appearance of Eugenio Lopez’s Jumex Collection from Mexico City. The art-obsessed fruit-juice scion came late to the V.I.P. reception, where early-bird dealers like the New Yorker Jose Freire, the Parisian Thaddeus Ropac and Zurich’s Eva Presenhuber mixed with Latin American and European collectors to view five decades’ worth of art by 53 artists, including Jeff Koons, Paul McCarthy, Andy Warhol, Damien Ortega, Sherrie Levine and Ugo Rondinone. “No one’s riding the bicycles,” remarked the co-curator Victor Zamudio-Taylor, observing a pair of two-wheelers by Maurizio Cattelan that, as he demonstrated, turn on an overhead light bulb when pedaled. Eureka. “It’s important for museums to be intriguing and serious, yet fun and engaging.

After a flurry of men’s fashion in Florence and Milan, it was nice to head up to Geneva to look at the latest advancements in the luxury watch world at the Salon International de la Haute Horlogerie fair. At a show where newness and innovation are almost always seen in the development of increasingly intricate complications of the timekeeping variety (sweeping seconds, power reserves, the omnipresent tourbillon), it was a welcome relief to have a shift in focus to aesthetics and appearance to the (gasp!) decorative. I even heard the dirty words of the timekeeping biz, “dress watch,” uttered without shame. Other manufacturers chose to focus on proven classics to help create contemporary heirlooms in the making. After all, a watch can simply be handsome to look at, complicated or not.

After a flurry of men’s fashion in Florence and Milan, it was nice to head up to Geneva to look at the latest advancements in the luxury watch world at the Salon International de la Haute Horlogerie fair. At a show where newness and innovation are almost always seen in the development of increasingly intricate complications of the timekeeping variety (sweeping seconds, power reserves, the omnipresent tourbillon), it was a welcome relief to have a shift in focus to aesthetics and appearance to the (gasp!) decorative. I even heard the dirty words of the timekeeping biz, “dress watch,” uttered without shame. Other manufacturers chose to focus on proven classics to help create contemporary heirlooms in the making. After all, a watch can simply be handsome to look at, complicated or not.

There has been a lot of speculation and rumor about just who is buying into   egolicious   artist Julian Schnabel's   pinky   red behemoth in the West Village, a controversial and ornate building that Your Mama happens to love not for it's missing beauty marks, but simply because it flips the proverbial bird at all the lovely but ubiquitous glass towers that have and continue to sprout all up and down the far West Side of Manhattan. What a nice change of pace to get something loaded with pizazz and personality versus one of these banal   Costas   Kondylis monstrosities or yet another gorgeous, sleek and minimalist glass things by Richard Meier or   Winka   Dubbeldam .