In the photo, the late Richard Merkin reminds us of the importance of scale for successful pattern mixing (not to mention the principle that one should never be photographed on an incompatibly patterned bedspread). Experienced dressers know that patterns with different scales can be successfully combined, like Merkin's dotted tie and striped shirt body. Even his braces work in context, though as underwear we need not take them into account.
The simplest form of dress uses color for variety among the four above-the-waist ensemble elements, such as the combination of a navy suit, light blue shirt, white pocket square and solid silver necktie. Adding pattern, such as a white pinstripe on the suit or a shirt with a navy stripe on the light blue ground, adds interest. One or two patterns among the four elements is elementary. Three is more advanced, and four is the domain of the expert, especially for business dress. Four patterns can easily be flashy, a desireable characteristic for boulevardiers like Merkin but less appropriate for most men. Flashy, that is, unless a man uses texture as his pattern.
To my taste, texture is the most important element in dress, for it adds visual interest without flash. Revisit the ensemble described in the previous paragraph and this time think of the suit in woolen flannel rather than worsted and the necktie in grenadine rather than shiny silk. The textures of the grenadine and the flannel add visual interest, and do so quietly.
Use texture as pattern. And stay off of striped bedspreads.
Sunday, August 1, 2010
Use Texture As Pattern
Photo: Brigidi d
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5 comments:
Another great post Will. Keep up the great work. Your posts are as important as my morning coffee: I can't get through the day without them. I finally know how to properly lace Oxfords thanks to you. I only wish you could post multiple times during the day; law school tends to get quite boring
Photos I’ve seen of the late, lamented Mr. Merkin shows a man not shy of either pattern OR color. He did it brilliantly and, on him, it looked good. But then this elegant boulevardier’s natural precincts were the academy and art world.
Tim is right, Merkin was one of a kind, and so was his wardrobe. My father and both grandfathers wore braces but you won't get them on me.
Dad also wore black (always) clock socks with garters and, when he was working on a layout, sleeve garters as well. I was pretty happy when things loosened up in the '60s but in the good old American tradition we took it too far.
Will, thanks for the reminder; Merkin was younger than I, but led a more exciting life, I'm sure.
It takes a huge personality to outshine the combinations that Merkin put together.
I cannot agree more with Will's conclusion. Texture is in itself a pattern, and often does the job more handsomely. A man who recognizes good textures will sometimes spot a plain gray suit or a navy tie in the show window and be drawn to it like paperclips to magnet, even though he already has five gray suits and fifteen navy ties. What has him hooked? It's the fabric. It's the texture. Good fit, good texture, conservative colors--that's all it takes to make a suit look smashing.
Ever since middle school, when I started shopping for my own clothes, I realized that the items that drew my notice in a store were usually among the most pricy there. It took me years to figure out why. I graviated towards the best textures. They were of the best fabrics, and invariably they were the most expensive. But they were worth every penny.
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