Today I am wearing a striped light gray, 2-button, notch lapel, linen/cotton blended suit; a black/white gingham handloomed cotton shirt with barrel cuff; silk knit ties; a Burberry check pocket square, and a pair of very dark brown (almost black) suede chukka boots.
I am very excited about the shirt I am wearing. This is my first shirt made from handloomed cotton. It’s extremely comfortable. It’s soft and supple and this tailored shirt fits the body like a glove. It’s so light that I don’t feel like I am wearing a shirt! I have been so impressed with this shirt that I have already ordered a dozen similar shirts. More on handloomed cotton shirts when I receive them.
Today’s watch is a 1960 vintage West End Watch Company, Sower, Prima with day and date. The dial is adorned with 10 jewels. The watch has a similar look to a Rolex Oyster Perpetual.
One can always wear an ensemble of plain colors. However, it is likely to soon become quite monotonous. Similar to one’s ability to mix colors, pattern mixing is also an art that can enhance an ensemble.
The secret of pattern mixing is to keep the pattern scales different. Given below are some examples:
Four Patterns: A green broken herringbone tweed is overchecked in red, orange and blue. It’s combined with a pink and blue checked shirt worn pinned, a burgundy on brown club necktie, and a silk paisley pocket square with a blue ground.
A pink and white check shirt and a green and white check tie. The patterns are not clashing because the difference in scale of the shirt and tie.
Mixing patterns and textures:
A self stripe linen suit, a blue/white linen gingham shirt, a blue textured silk knit tie, a blue/gold printed silk pocket square.
Mixing four patterns:
The photo below shows a check suit (glen plaid) paired with a check (gingham) shirt. Mixing of these two pattern is possible because both patterns are subdued and of uneven scale. The check tie and check pocket square is also not clashing.