THE BASICS

No rocket science here. Just a little physics and some

introductory optics.
There are only a few basic things you need to know about
getting dressed to look your best. The main thing is that you
should look like you got dressed without having to consult a web
guide; you want people to think that looking as good as you do
was effortless and easy. Follow the steps here, and soon you
won't need any steps to follow at all.
The basic basics.

Here's the handful of things to keep in mind:

Yipes! Stripes!

One bad choice can be a

whole pattern of
misbehavior.

Most of us know that wide

horizontal stripes make the
eye move left to right thus Some
creating a broadening stripes
effect, and vertical stripes make
coax the eyes up and down you
helping to establish a bigger,
some
thinner look.
stripes
Maybe that's why the make
necktie, that glorious you
vertical stripe of fabric small

hangs (pun!) in there!

Large designs like plaids, focus on girth not length,
whereas small patterns or no patterns underscore
thinness.

Walk
A super models tip: like a
man.
Stand
Stand and deliver! like a
superm
Next time you're the subject of a photo op, pretend
there is a clock at your feet. odel

Right foot goes at twelve and left foot at ten, then angle
body to the left to give the person you're talking to (or the
 paparazzi) a better, slimmer view.
It also makes for a better photo if you push your shoulders
back, keep your eyes wide open (smiling tends to close your
eyes), and lower your chin (unless you have a double chin, then
raise it slightly)!
Speak Body Language.
Your mom was right! One of the most memorable things she
ever said: "Stand up straight, young man." Why did she say
that? Because she knew that good posture will take five or 10
pounds off you with no sweat.

So chest out, stomach in, posture straight, walk into that job
interview, sales presentation or singles bar with confidence --
and walk tall!
• Don't be a slouch! Whether you are standing or sitting,
slouching can suggest that you are intimidated, that you
lack confidence or that you're uninterested in what
others have to say. Swaying or bouncing your foot says
that you are nervous.

• Keep your head up. If you walk with your head down it
lets other people be more important than you. Look at
where you're going.

• Make eye contact. Don’t stare, but look the other

person (persons) in the eye 40 to 60% of the time,
otherwise you’ll be perceived as having something to
hide. When you are in a meeting, it's okay to look
laterally side to side, which appears intellectual or
powerful, but don't look up or down. It makes you look
as if you've lost your confidence

• Smile, but "over smiling" gives the impression of

weakness. A good smile says you are confident,
authoritative and friendly. A real smile lasts three or four
seconds; anything longer appears frozen or phony.

• Hands.
The first place nervous energy shows is in your hands. Don't jingle your change, play
with your ring or fiddle with your tie. Hands clasped in front of you, below your waist
gives the impression of insecurity and looks like you don't know what to do with your
hands. Just let them hang at your sides, naturally and casually.
 To put your hands by your side and do nothing with your hands is powerful body
language. Don't hold one arm with the other, don't clasp your hands in front or in
back, and don't stick your hands in your pockets (it makes your hind end look twice
as wide.)

• Mirror, Mirror On The Wall. People are most comfortable with people who are "like"
themselves (in dress, mannerisms, thoughts, etc.). Mirror: Try to "mirror" the other
person’s body position and mannerisms such as speech speed, (to a certain degree).

• Voice pitch. Keep your pitch low. There are more men on radio, because people
respond better to lower pitched voices. Don't end a sentence with a high note, in the
interrogative question tone. Instead phrase questions assertively; for example say
"I'd like to know when I can meet with you," as opposed to "when can I meet with
you?"

• On the phone. Look into a mirror when you are talking on the phone. Ask yourself,
would you want to talk to the person you see in the mirror? A smile can be heard
over the phone, for example.

• Don't start by apologizing. Some people start to speak by apologizing, or preface a

statement with, “forgive me for saying this”. Many of us do it because we learned it
from our mothers, and think it’s polite.

A note about FABRIC WEIGHT:

Heavier fabrics give the impression of a heavier body. (Tweed, flannel, bulky sweaters).
Light to medium weight fabrics visually remove pounds. (cotton, twill, linen).
A Quick Application of our new Basic Knowledge:
Most of this is also covered under what to wear for specific body types.
To Look Taller and Thinner:
• Wear clothes that fit well (too tight or too loose clothes add pounds).
• Wear solid colors, preferably in the same color range, from head to toe.
• Avoid stiff fabrics and nubby textures.
• Wear darker tones in smooth fabrics with flat finishes.
• Limit stripes to very fine, subdued, and close-together versions.
• Wear trousers at the natural waist (never below).
• Wear suspenders with button loops, never clips.
• Avoid too many accessories.
• Be sure your tie touches the waistband and that it is medium in width.
• Avoid busy patterns.
• Wear vertical stripes.
• Avoid elastic bottoms on sweaters, and jackets, which can cause the material
to bunch up at the waist and make you look heavier.
To Look Shorter and/or Heavier
• Wear contrasting colors in mix-and-match separates.
• Wear bolder colors as accents.
• Wear patch pockets or styling details.
• Wear layers.
• Elastic bottoms on sweaters, and jackets can cause the material to bunch up
at the waist and make you look heavier.
• Wear spread-color shirts and slightly wider ties, with Windsor knots.
• Wear thin-soled, trim-looking shoes.
• Select a top coat in a huskier fabric. It can be full or belted and should fall
below the knee.
• Wear trousers with deep pleats, cuffs, and full legs.
• Limit using the same color from head to toe.
• Limit the use of narrow vertical stripes, very narrow ties, and pointed lapels.
There. Now that you've got the hard stuff down, here's a whole rack of other stuff
a guy ought to know about his clothes:

Learn How to Perfect Mens Fashion Color Coordination

Besides personal experience in color coordination, having the knowledge in the concept of the color
wheel can introduce more interesting combinations and harmony.
Let us begin by looking at the color wheel and the basic colors.
There are three characteristics in the color wheel we need to understand before proceeding to discuss
about color coordination in mens fashion.
1. Hue
This is the actual color. Base on the color wheel, we are able to see about twelve hues. From top
clockwise: Red, Red-Violet, Violet, Blue-Violet, Blue, Blue-Green, Green, Yellow-Green, Yellow,
Yellow-Orange, Orange, Red-Orange
2. Lightness
This represents the shade of the color. It constitutes the amount of black and white added to the
particular hue. Example, pink is the shade of red due to the result of more white. And Crimson is
a darker shade of red due to more black.
3. Saturation
This is the vividness or intensity of the color. Red is more saturated than Russet even though
they are from the same hue and shade.
4. Similar Colors
These are colors adjacent to each other. Examples are Red and Red-Orange, Yellow-Green and
Yellow.

Or colors with one color in-between in the color wheel. Examples are Blue and Green, Red and
Orange.
5. Contrasting Colors
This is when there are three colors between them on the color wheel. Examples are like Red and
Blue, Orange and Violet, Blue and Yellow
6. Complementary Colors
When colors are opposite each other in the color wheel, it is considered complementary.
Examples are Red and Green, Yellow and Violet
• Light colors involves basic hues with white.
• Dull colors involves hues with gray.
• Vivid colors are the basic hues.
• Dark colors are involving basic hues with black
• Achromatic colors are shades of blacks and grays
Light Colors

Dull Colors

Vivid Colors

Dark Colors

Achromatic Colors

The Best Looks Achieved with

Achromatic Hues Color Coordination
Every men can achieve fantastic
results with achromatic hues color
coordination. It would seem quite difficult to go wrong coordinating any colors with black, gray
or white.
Still there are some color that will coordinate better with certain shades of the achromatic hues.
Let us look at some examples:

Light colors go better with gray or dark gray compared to light gray or black. There is too little
contrast between light colors and light gray.
On the other hand, too much contrast between light colors and black. But the latter is still a
possible combination for most people.
Dull colors creates a nicer blend against dark gray or black than light gray or gray.

Vivid colors look best with light gray or black. Vivid with dark gray does not bring out the vivid
as much as light gray or black does.
Of course, vivid and all the achromatic hues color coordination is possible. The informaiton
mentioned here is focused more on which coordination would be a lot better.

Dark colors work best with gray or black.

We have to watch out for dull muddled colors like dark brown or olive green. These colors have
a tendency to have too much gray in them and make blending against gray difficult.
Other colors when used in achromatic hues color coordination should always be used as an
accent. For example, a gray suit with a dull-colored pocket square to bring out a nice subtle
contrast.
Hope these simple concepts can encourage more experimentation with different combination in
mens fashion color coordination.

Great Harmony Through

Complementary Hues Color Coordination
Complementary hues color
coordination is not easy creating
harmony compared to the rest.
The hues are opposite each other in the color wheel. And they supposed to complement which
makes it easier when three colors are included.
Combining complementary colors should not be between two dark colors, vivid colors or dull
colors. Only light and light can mix well.

Some light and light color coordination:

Try coordinating different shades with each other. Light and vivid color coordination:

Dark and dull color coordination complements well:

Interestingly, dark and vivid color matching is not uniform in its harmony. It seems that
coordination between dark blue, purple, and magenta hues against vivid looks better.
The dark colors of red, orange, and green hues can create a nice combination against the vivid
colors.
Some examples of the nicer complementary hues color coordination between dark and vivid
colors:

Three color coordination involves two complementary colors and one in between color the two.
To coordinate three colors of contrasting hues have a tendency to be skewed toward a certain
hue. So it is best to balance one of the complementary hues with a light or dark shade.

Personally, I feel that complementary hues color coordination is the most difficult of all even
though the word "complementary" makes it sounds easy.
The best way to master coordination well is trying many ways to have a real feel of the color
flow and rhythm.

Grasp the Concept of

Same Hue Color Coordination
Looking at the color wheel, same hue color coordination involves variations of one hue. So the
colors are all from the same position of the color wheel as well as coming from the same column
of the color chart.

As you can see whether we base on two colors or three colors combination, there is hardly any
chance for the color coordination to go wrong.
Especially with the three color combination, the harmony between them are beautiful and
soothing.
Such color coordination concept will always make any men go on the right track in mens
clothing. There is never any conflict between the colors.
The whole concept is to vary your order of colors in order to attain variety and yet synchrony.
Gain the Knowledge on
Similar Hues Color Coordination
Similar hues color coordination involves hues that are adjacent in the color chart. Or the shades
that are on adjacent columns in the color chart.
Because of this relationship, these colors have a lot of common characteristics. Let us look at
some examples of this concept.

When light colors are paired with dull colors, the combination gives a spring feel.
Dull colors combined with dark colors are fantastic color coordination for an autumn style or
wintery somber.

Vivid colors combined with light colors are vibrant with a summer touch.

We would avoid combining vivid colors with similar vivid colors. The combination can be kind
of harsh.

Using three similar hues color coordination can be even more interesting. When combining two
light colors with a dull (first four combination) or vivid color (next four combination) creates a
fantastic harmony.
An autumn feel can be better achieved with one dark color against two dull colors compared to
all three dull colors.

Avoid working with three vivid colors because of their ability to overwhelm each other and give
a confusing illusion.
Instead separate two vivid colors with one light color would be a better harmonious blend.

The light color should work to become an accent against the two vivid colors.
Two light colors against one dull color can work out as great color coordination as well.

Adding three dark colors or dull colors devoid contrast and does not bring out the best in the
color combination.
Do not assume similar hues color coordination will always turn out well. Creating contrast will
bring out the best in the color harmony and flow.
Unfolding the Solution on
Contrasting Hues Color Coordination
Do not assume that contrasting hues color coordination will look discord. Inversely, the correct
concept adopted can allow beautiful color harmony to be created.

Even matching two light colors can give a soothing effect as illustrated.
But to get an even better harmony in contrasting hues color coordination is by coordinating light
and dull colors.
They create a nice contrasting blend compared to combining that of light against light or light
against vivid or dark colors. Let's see some examples below:

Color coordination with contrasting dark colors can be very ugly. But there are a few
combinations that are widely acceptable in mens fashion.

Three colors coordination for contrasting hues involves three colors that are separated by three
colors in between them.
The art of creating harmony with these colors is combining different shades involved rather than
having all from the same shade or of different hues.
Let's try using two dark colors with one dull color.

Two vivid colors against one dull color.

Another way is one vivid color with dark colors. But the vivid color is supposed to be used
sparingly or as an accent.

The whole concept here is trying out contrasting hues color coordination base on different shades
to create the harmony. There is no hard and fast rule about how to do it. Most importantly is
experiencing it!

COLOR
COLOR is a visual effect resulting from the eye's ability to distinguish the different
wavelengths or frequencies of light. The apparent color of an object depends on the
wavelength of the light that it reflects. In white, or normal, light, an opaque object that
reflects all wavelengths appears white and one that absorbs all wavelengths appears black.
Any three primary, or spectral, colors can be combined in various proportions to produce
any other color sensation.
To describe a color with reasonable accuracy, three basic properties have been designated
to identify the dimensions, or qualities, of color:

1) hue, the name of a color;

2) value, the degree of lightness or darkness in a color, can be expressed by shades,
tints, and tones;

3) and intensity (saturation or chroma), the degree of purity or strength of a color (hue) or
how bright or muted the colors are. For example, an intense red is one that is a very strong,
pure red color. When a lighter or darker color is added to a color, the intensity will be less
bright.

A visual presentation of some

color terms:
HUE
The pure color (for example RED)
TONE
Hue + small amount of gray or opposite color (will
mute or tone down the color
TINT
Hue + White (will lighten the color)
COMPLEMENT TINT
Tint + small amount of gray or opposite color (will
mute or tone down the color)
SHADE
Hue + Black (will darken the color)
The Color Spectrum or Wheel:

Sir Isaac Newton developed the first

 circular diagram of colors in 1666.

Some Guiding Principles to Harmonizing Colors:

Core Color is the dominant color in a color scheme. It’s the color of the principal item in
your ensemble like your suit or a sweater.
Accent colors are the second and sometimes third colors used in a color scheme. The
accent colors may be complementary, triad, analogous or neutral.
• Triad. The first or primary triad colors in the color wheel (or spectrum) are red, blue
and yellow. (Navy suit, pale yellow shirt, burgundy tie) These are called pure colors
because mixing them with each other and/or with white or black can make all other
colors.

The second (or secondary) triad colors in the color wheel are orange, green and
purple. Made by mixing two primary colors together. Mixing red and yellow make
orange, yellow and blue make green, and combining red and blue produce purple.

• Complementary colors:

are those directly opposite one other in the color spectrum or wheel. That’s why
hunter green pants look great with a burgundy sweater. Blue is opposite of orange
so gold, rust, and brown compliment shades of blue.

• Analogous colors:

Colors, which are next to each other on the color wheel, go well together, such as
blue pants, a blue-green shirt and a green jacket.

• Warm and Cool:

Families of analogous colors include warm colors (red, orange,

yellow) and cool colors (green, blue, violet). Designers often build
color schemes around two or three related colors.
 Select two warm colors with one cool or two cool with one warm to create dynamic
harmony. Examples: navy suit, light blue shirt and red tie, or a yellow shirt, rust
jacket and blue jeans.

• Monochromatic: all one color, but different shades, tones or tints.

• Neutral: dress in shades of white, black, gray or beige. Khaki pants, white shirt and
a gray sweater are all neutrals. It may not be a dynamic look, but it is
sophisticated.

• Seasonal Colors: Some colors are more appropriate at certain times of year than
others. Pastels are usually associated with spring/summer, while autumn colors are
rust, brown, green, and burgundy. Wearing rust in the summer, or light yellow in the
fall looks out of place.

• Think contrast. Try one light element with two dark, or one dark with two lights,
such as a charcoal suit, white shirt and red tie, or tan suit with yellow shirt and
green tie. Or Khaki pants and a dark blue shirt.

• Color Value: Dark colors recede thus making you look thinner, and light colors
project, which tends to bulk you up. Dark colors are more formal than light.

Glossary of Basic Color Terms

• Analogous colors, (also known as adjacent colors, harmonious colors, and
related colors), are colors which are next to each other on the color spectrum or
wheel, and are closely related, such as blue, blue-green and green. Red and orange,
blue and purple, blue and green, green and yellow, yellow and orange and red and
purple.
Families of analogous colors include warm colors (red, orange, yellow) and cool
colors (green, blue, violet). Designers often build color schemes around two or three
related colors.
• Achromatic Color: see neutral colors.
• Chroma – see Saturation and Intensity.
• Chromatic That which is perceived as having a hue or pure color (not white,
gray, or black)
• Color Wheel: An arrangement of colors sequentially in a circular pattern so that
each secondary color lies between the two primary colors of which it is an equal
mixture, and opposite the primary color to which it is the complement. Each tertiary
color is positioned between the primary and secondary colors of which it is an equal
mixture.
• Complementary colors: The complement of each color is located opposite each
other on the color wheel. Blue, for example, is the complement of orange. Other
examples are red and green, plus yellow and purple. Complementary colors enhance
each other.
• Compound colors: Colors that contain all three primary colors.
• Cool colors: (green, blue, violet) are associated with the colors of water, sky and
foliage. They are calming, unassuming and they appear to recede.
• Earth colors: Naturally occurring pigments usually metal oxides obtained from
mining, such as ocher and umber that are in a subdued color range.
• Hue: The name of a color as found in its pure state in the spectrum (with no black or
white added). The quality of a color responsible for its name by which it is
distinguished from other colors, as red, green or blue.
• Intensity: The purity of hue (see saturation or chroma). For example, an intense
red is one that is a very strong, pure red color. When a lighter or darker color is
added to a color, the intensity will be less bright.
• Intermediate colors: Also called tertiary colors, these colors include combination
of two secondary colors, or a combination of a primary color and either of the two
secondary colors adjacent to it, such as orange red, yellow orange, yellow green,
blue green, blue violet, and red violet.
• Lightness: (brightness, reflectance, value) position on the gray scale between pure
black and pure white.
• Monochromatic: having one color. All the elements of your attire, room, painting,
etc. are of the same hue, but may vary by quality (intensity, tint, tone, shade,
value). All blue attire could consist of a Navy suit, light blue shirt, dark blue tie, blue
pocket square, etc.
• Neutral colors: (also achromatic, or non-chromatic meaning “without color”) are
shades of white, gray or black that have no hue. Or any colors containing a
significant amount of gray. Most neutrals are tinted slightly with a warm or cool
color (beige). These shades go with most colors.
• Pastel: A soft delicate hue; a pale color. See tint.
• Primary colors: (AKA Triad colors) Red, yellow and blue. These are colors that
cannot be derived from the mixture of any other colors on the palette.
• Quality: Refers to the aspects of a color - tint, tone, shade, value, and brightness.
• Saturation or Chroma: (also Intensity) Relates to the purity or amount of pigment
in the color and determines the degree of brightness or dullness of a color. Color
intensity or purity of tone, being the degree of freedom from gray. A pure hue,
without the addition of another color, has the highest saturation and is the most
vivid. Navy blue is a “dark” blue.
• Secondary colors: orange, green, and violet. These colors are made from the
mixture of two primary colors. Their hues are midway between the two primary
colors used to mix them. If you mix primary colors red with yellow you have orange.
• Shade: A color that has been darkened by the addition of black. e.g., adding black
to green makes a darker shade of green.
• Spectrum: The distribution of colors, arranged in order of wavelengths, which make
up the light from any particular source. The simplest example of this concept is a
rainbow, a natural display of the visible spectrum.
• Tint: A color that has been lightened by the addition of white. - e.g., adding white to
red makes pink.
• Tone: The relative strength of a hue as it approaches black or white at the opposite
ends of the values scale. Each hue has many tones. Mixed with white a color is
 “pale” in tone; mixed with black it becomes “dark” in tone. The upper or lower
extremes of any color would be white or gray and black.
• Tertiary colors: see intermediate colors.
• Value: (also see Saturation, Intensity and Chroma) The degree of lightness or
darkness in a color. The quality by which a pale or light color is distinguished from a
deep or dark one. Values can be expressed by shades, tints, and tones.
• Value scale: A series of spaces filled with tints and shades of one color, starting
with white or the lightest tint at one end and gradually changing into the darkest
shade or black at the other end.
• Warm colors (red, orange, yellow) are associated with fire and the sun. They will
psychologically suggest emotion, energy and warmth while optically moving the
subject to the foreground.
Some Information about color-blindness:
Color blindness, is hereditary and common enough that it affects 8 to 12 % of the male
population. You can be easily tested at your eye care professional.
The human eye sees by light stimulating the retina, which lines the back of the eye. The
retina is made up of rods and cones. Rods give us night vision, but cannot distinguish
color. Cones are the color receivers for the brain.
There are different types and degrees of color blindness; most consist of a problem seeing
reds and/or green colors. The most common is a difficultly seeing difference in the red,
orange, yellow, green region of the spectrum. These colors appear shifted towards green so
that the red component in violet is weakened and the person only sees blue. Any red is
seen more weakly both in saturation and brightness. A red traffic light might look yellow.
In some cases the brightness of red, orange, and yellow is reduced so that reds may be
confused with black and/or dark gray. A red traffic light could appear to be extinguished.
If you are affected by color blindness, it’s best to find reliable assistance in selecting and
coordinating your wardrobe, like a good salesperson, your spouse, or a fashion conscious
friend. If you are looking for a tie and shirt to go with a jacket, it’s easier to take the jacket
with you when you shop.

Practical
Color Help
What colors really look good with what
other colors!
We’ve learned color theory in Color
Coordination,
and we know how to match patterns from
Coordination
so we’re now ready to put it all to practical use.
Our goal when we put the various elements of our clothes together is
to produce harmony.
Harmony is something that is pleasing to the eye. It engages the
viewer and it creates an inner sense of order, a balance in the visual
experience. When something is not harmonious, it's either boring or
chaotic.
At one extreme is a visual experience that is so bland that the viewer
is not engaged. The human brain will reject under-stimulating
information, such as a monochromatic ensemble with all the same
texture.
At the other extreme is a visual experience that is so overdone, so
chaotic that the viewer can't stand to look at it. The human brain
rejects what it cannot organize, or understand, like four conflicting
patterns and colors in an ensemble. Movie costumers often have
characters they want to depict as weird wearing two incompatible
patterns.

In summary, extreme unity leads to under-stimulation, while extreme

complexity leads to over-stimulation. Harmony is a dynamic
equilibrium.

To use the chart below we need to know these definitions:

Core Color is the dominant color in a color scheme. It’s the color of
the principal item in your ensemble like your suit or a sweater.
Accent colors are the second and sometimes third colors used in a
color scheme. The accent colors may be complementary, triad,
analogous or neutral.
Triad. The first or primary triad colors in the color wheel (or
spectrum) are red, blue and yellow. (Navy suit, pale yellow shirt,
burgundy tie) These are called pure colors because mixing them with
each other and/or with white or black can make all other co colors.
The second (or secondary) triad colors in the color wheel are
orange, green and purple. Made by mixing two primary colors
together. Mixing red and yellow make orange, yellow and blue make
green, and combining red and blue produce purple.
Complementary colors:

are those directly opposite one other in the color wheel. When placed
next to each other, complementary colors intensify each other and
make the colors seem brighter. Green and red are opposites and
that’s why hunter green pants look great with a burgundy sweater.
Blue is opposite of orange so gold, rust, and brown complement
shades of blue.

Analogous colors: (also known as adjacent colors, harmonious colors, and

related colors),

are Colors, which lie next to each other on the color wheel (contiguous colors).
They harmonize since they each contain some of the same color. An example
would be blue pants, a blue-green shirt and a purple sweater.
 Warm and Cool:
Families of analogous colors include warm colors (red, orange,
yellow) and cool colors (green, blue, violet). Designers often
build color schemes around two or three related colors.

Select two warm colors with one cool or two cool with one warm to create
dynamic harmony. Examples: navy suit, light blue shirt and red tie, or a yellow
shirt, rust jacket and blue jeans.
Neutral: shades of white, black, gray or tan.
Neutrals work well with all colors or may be worn together. Khaki pants, white
shirt and a gray sweater worn together create an ensemble made up of all
neutral colors. Together, all neutrals may not be a dynamic look, but it is
sophisticated.
Black, White, Gray, Tan, and Brown are not separate colors on the color wheel,
but are made up of different percentages of red, yellow and blue. To make
neutral colors mix either all three primary colors, or mix a primary and secondary
color (secondary colors are made from mixing two primaries).
For example:
How to make a brown?
Mix a color with its complementary color. Add orange to blue,
purple to yellow, or green to red. Each of these combinations
makes a different brown.
How to make a grey?
Mix some orange (or yellow and red) with a blue then add some
white. You can also mix blue with an earth color, such as raw
umber or burnt sienna.

CORE COLOR ACCENT COLORS

Complementary Triad Analogous Neutral

WHITE (neutral) All colors

(Same for all colors)
BLACK (neutral) All colors

GRAY (neutral) Darker or lighter gray, red, blue, yellow and White, black, gray,
green tan
TAN (neutral) Blue, purple, burgundy, cranberry, turquoise,
brown, orange, green,

BROWN Blue, green, orange, yellow,

NAVY Orange, gold, Yellow, Blue, green,

rust red, purple
 brown,
tan

BURGUNDY/RED Green Blue, Purple, orange

yellow

YELLOW Purple Red, Orange, green

blue

PURPLE Yellow Orange Blue, red

, green

RUST/ORANGE Blue Green, Yellow, red, brown

purple

GREEN/OLIVE Red Purple, Blue, yellow

orange

Caveat: You must pay attention to tone (adding gray), tint (adding white) and
shade (adding black) of a hue (pure color). Green and red are complementary
colors, but if you match pure green and red you’ll look very Christmassy! Which
is fine for Christmas! But burgundy and hunter green are quite stunning
together.

You can also opt out of mixing and matching color and go:
Monochromatic: all one color, but different shades, tones or tints. All blue attire
could consist of a Navy suit, light blue shirt, dark blue tie, blue pocket square,
etc. Add some contrast to this combination by using texture and pattern. Some
of your clothing items should be smooth; others rough in texture. Some items
could be patterned; others solid.

Putting the Core color and Accent color chart to specific practice:

These are Colors that traditionally go well together, but remember this is only a
guide.

Jacket Color Shirt Tie (and/or Trousers for Belt/Shoes

(and/or Pocket Sports Jackets
Pocket Square*)
Square*)

Navy white, blue, blue, gold, gray, tan black, brown

yellow, pink yellow, or cordovan
burgundy, red,
purple
Gray white, gray, black, white, gray, black, black, brown
yellow, pink, gray, green, navy or cordovan
lavender, blue blue-green,
burgundy,
navy, any
primary or
pastel colors

Brown white, ecru, tan, black, tan, gray, brown or

blue, yellow brown, rust, a different cordovan
orange, red, shade of
gold, yellow, brown.
green,
burgundy

Tan blue, ecru, tan, brown, black, navy, brown, black

white rust, orange, gray, brown, or cordovan
red, navy, darker tan

Olive white, ecru, burgundy, gray, tan, brown or

gray, pale rust, green, navy, brown cordovan
yellow, pale tan, yellow
blue

Black white, light black, white, gray, tan black

gray, yellow, grey, blue,
blue olive,
burgundy, any
primary
or pastel colors

*A note on Pocket Square coordination:

Compliment, don’t match, your shirt and/or tie with your pocket square. If

you do have a yen to match go for the shirt, never the tie. For a very

conservative look try plain white, even if it is a little stuffy. There was a brief

period such as the early 1940’s when men did match tie and pocket square,

but thank goodness we’ve moved on.

There is some school that believes that the tie or jacket and pocket square
should contrast in fabric. If you’re wearing a silk tie opt for a linen square, or a
tweed jacket is best worn with a heavier more casual square of wool or
cashmere. White linen would appear too formal. This theory has some merit,
but silk still looks great with any fabric.
Andy’s Tip for matching trousers to sports jackets: The bone buttons of
your jacket have a range of colors. You can choose trousers that match any of
the colors of the buttons and they will go perfectly.

Some additional considerations:

• Seasonal Colors: Some colors are more appropriate at certain times of
year than others. Like the pastels of yellow, are usually associated with
summer, while autumn colors are rust, brown, green, and burgundy.
Wearing rust in the summer, or light yellow in the fall looks out of place.
• Think contrast. Try one light element with two dark, or one dark with
two lights, such as a charcoal suit, white shirt and red tie, or tan suit with
yellow shirt and green tie. Or Khaki pants and a dark blue shirt.
• Color Value: Dark colors recede thus making you look thinner, and light
colors project, which tends to bulk you up. Dark colors are more formal
than light.
This is the stuff artists, master gardeners, and interior decorators study, but now
you can use this knowledge to paint a picture with your clothes!

Now, go get dressed!!

Coordination
The definitive mix and match primer!
Your personal image is important! Your clothes and the way you carry
yourself determine whether people take your seriously, recognize your
authority, and do what you want!
And that’s as important for a job interview as it is trying to get an upgrade
to first class or just trying to talk a clerk into taking back an item without
a receipt.
One would hope that your abilities and experience would convey their
image. But that's not the case.

The way you look and your body language may override your true
capabilities. First impressions may be unfair, but people base their
opinion of you on how you look as we discovered in the article First
Impressionism.
In addition to living in a visual society, we live in a
negative one. People will remember the worst thing
about you.
Fashion, as we know, has a limited life span.
You can do it!
FIRST, DO THE RESEARCH!
1. Determine which Body Type is yours.

2. Analyze what Colors go best with your hair, eye and

complexion. Men are lucky that most of us look great in
traditional business colors.

3. Consider the science of Color Coordination.

4. Know the Basics (which patterns make you look tall and skinny) and
how to stand, walk and position your feet and hands.
Now you’re ready to put it all together.
It’s called Coordination!
The word “coordination” developed from the Latin “co” + “ordin”, “order”,
meaning, “to arrange in order”.
Dressing well is about mastering composition, not unlike painting a picture
or taking a photo.
You can use each piece of your attire to
create a portrait that can project an image
ranging from dull to understated to inspired to
over-the-top.
So how do we put together all the diverse
components of attire -- a suit, shirt, tie, pocket
square, belt, shoes, socks and vest and what
about the pants, shirt, sweater, etc in casual
clothes?

There are some “rules” in coordinating shirt, tie

and suit. And they work equally well in pairing
Khaki’s with a polo shirt!
The Elements:
We’re going to focus on a four-part clothes coordination formula
comprised of:
• Pattern
• Color
• Fabric Weight
• Fabric Texture
These four elements can make a big difference in your image.
Pattern can be cause for comedy or give you an interesting look. Color
can make your complexion look great, or washed out, and send messages
like “trustworthy” or scream gaudy. Fabric texture and weight can be
crucial as to the appropriateness of your attire for time of day, or time of
year!
Observe people at a mall, your office, or an airport. Pick out those who
seem unsightly; something doesn’t quite seem right with their attire,
chances are one or more of these four elements will be out of balance or
“unattractive”.
For example, some men try to jazz up the traditional formalwear
ensemble, which they think is boring. This, is usually a mistake, resulting
in a loud, busy, or other discord in a classic attire.
There can be too much matching! His and her identical Hawaiian shirts
come to mind!

• Pattern
Too many patterns and you'll resemble a clown!

The strongest authoritative professional clothing is no pattern

– a solid color.

People always remember solids the longest. That’s why guys

look so elegant and handsome in no pattern, high contrast,
and only two-color formalwear!
One of the "rules" for coordination of
a suit, tie and dress shirt is "Two
Plains and One Fancy" meaning
that of the three items—shirt, tie
and suit—two of them should always be plain (solid) and
the third should be fancy (patterned).
For example, if you wear a solid suit and a solid shirt,
you should not wear a solid tie. Select a tie with a
pattern. But, if you wear a striped shirt, you should wear a solid tie with it, and a
solid suit. And, if you wear a Glenn plaid suit, you should wear a solid shirt and a
solid tie.
This is good advice when you are first building a wardrobe, but as you get
adventurous you will successfully mix patterns. A pin stripe suit with a stripe shirt
and a small patterned tie can look wonderful!
The fundamentals of mixing patterns require analyzing each pattern for:
1. Size (scale)
2. Type or design (whether it’s stripe, polka dots,
geometrics, etc.)
3. Color
4. Intensity (bold or subtle)

You can mix two or more patterns just make certain

that some of the colors in each match, and the
patterns are not the same size or type. For example
with a check shirt – try a tie with small patterns, and
bright strong patterns should be paired with subtle
ones.

Note that suit patterns, such as a pinstripe or a

subtle plaid, work almost like a solid since you have
to be close to see the pattern.

Stripes on stripes? The

slanting stripes of a repp or
regimental tie help to visually reduce weight in a man's
face by drawing the eye downward. You can wear a stripe
tie and a striped shirt if the scales are different. A fine-
striped shirt goes perfectly well with a thick, repp or
Regimental striped tie.

• Color
In the article on Color Coordination we’ve learned these guiding principles to
working with colors:
Complementary colors: are those directly opposite one other in the color
spectrum or wheel. That’s why hunter green pants look great with a burgundy
sweater. Blue is opposite of orange so gold, rust, and brown are complementary
shades of blue.
Analogous colors: Colors, which are next to each other on the color wheel, go
well together, such as blue pants, a blue-green shirt and a forest green jacket.
Warm and Cool: Select two warm colors with one cool or two cool with one warm
to create dynamic harmony. Examples: navy suit, light blue shirt and red tie, or a
yellow shirt, rust jacket and blue jeans.
Monochromatic: Can be all one color, or different shades, tones or tints of one
color.
Neutral: dress in shades of white, black, gray or beige. Khaki pants, white shirt
and a gray sweater are all neutrals. It may not be a dynamic look, but it is
sophisticated.
Seasonal Colors: Some colors are more appropriate at certain times of year than
others. Like the pastels of yellow, are usually associated with summer, while
autumn colors are rust, brown, green, and burgundy. Wearing rust in the
summer, or light yellow in the fall looks out of place.
The Color Spectrum or Wheel:

Sir Isaac Newton developed the first

circular diagram of colors in 1666.

Color Value: (also called Saturation, Intensity and Chroma)

Value is the degree of lightness or darkness in a color. It’s the quality by which a
pale or light color is distinguished from a deep or dark one. Values can be
expressed by shades, tints, and tones.
A visual presentation of some color terms:

HUE
The pure color (for example RED)
TONE
Hue + small amount of gray or opposite color (will mute or tone down the
color)
TINT
Hue + White (will lighten the color)
 COMPLEMENT TINT
Tint + small amount of gray or opposite color (will mute or tone down the
tint)
SHADE
Hue + Black (will darken the color)

Dark and dull colors recede thus making you look thinner, and smaller.
Light and bright colors project, which tend to bulk you up and make you look
larger.
ANDY’S ADVICE: If you’re trying to look slim, save the bright colors for
accents. With a gray or navy suit a red or yellow tie will draw favorable
attention to your face.
Dark colors are more formal than light. Bright colors in large amounts become
tiresome to the eye.
Want to emphasize your shoulders and de-emphasize your hips? Wear a lighter
colored sports jacket with dark trousers. (You can also apply this principle to a
polo shirt and trousers).
Men with muted or softer coloring look better in "dusty or hazy" colors that have a
touch of gray or are faded. For example, light hair and skin would pair well with
powder blue.
Men with darker complexions and hair look better in bright, crisp, clear, rich colors
that pop out. Navy blue would be an example.
Color contrast: Another "rule" says one of the three
elements should be light, the other two dark.
Try one light element with two dark, or one dark with two
lights. For example, a charcoal suit (dark), white shirt (light)
and red tie (dark), or tan suit (light) with yellow shirt (light)
and green tie (dark). Or Khaki pants and a dark blue shirt.
Even on Regis the tie and shirt look best when they contrast.
And unless you’re a cast member of the Sopranos, the tie
should be darker than the shirt!
The traditional strong contrast of a navy suit and white shirt
works well with every skin and eye color. Just like the great
look of classic black and white in formalwear.

If you are tall you may (as we discussed in

the body styles) want to contrast the top
and bottom of your attire (dark sports jacket and light colored
trousers) to give a break to the eye thus making a horizontal line
that makes you look shorter.

If you are short do the opposite and try to more closely match
the color and intensity of the top and bottom of your ensemble.
Short or heavy gentlemen look great in suits since the matching
top and bottom produce a “taller, thinner” image.

Two principles guide the choice of colors: matching and contrasting.

 A dark blue tie with a pale blue shirt and a blue or gray
suit is an example of color harmony.

Substitute a red or maroon tie

in this getup, and you have
color contrast.

There is much to learn in color coordination. Too close

a color harmony results in a monochrome effect and can
be boring. And too much contrast can be harsh.

Andy’s Tip: The buttons of sports jackets are

usually contrasting with a range of colors. Choose
your trousers from one of those colors!
• Fabric Weight
Traditionally heavier weight fabrics (such as 11 to 16 ounce wool suit fabrics,
corduroy, suede, and leather) are worn in the fall and winter while lighter weight
fabrics (seersucker, and linen) are more common in the spring and summer.
Take the tie for example, silk is correct all year round, but in winter you can add a
wool tie to the ensemble. Now you have introduced a heavier fabric element must
be careful to balance.
Heavier fabrics give the impression of a heavier body. (Tweed, flannel, bulky
sweaters)
Light to medium weight fabrics visually remove pounds. (cotton, twill, linen)
• Fabric Texture
You can use the quality of roughness or smoothness in fabrics to
help
coordinate your attire and present the appropriate image.

Texture makes a statement.

Smooth parallels dark as being dressier, giving authority and
power, but you can be too smooth or slick projecting a cold,
elusive, distrustful appearance.
Rough textures parallel lighter colors, projecting an accessible
and friendlier image. Silk ties are dressier than wool, smooth
suit fabrics are dressier than tweed.
You can contrast (smooth with rough) or match (smooth with smooth, rough with
rough) textures. Balance between textures also should be considered.
Oxford cloth shirts are the most textured dress shirt and call for a smooth tie and
suit for the most dressy business situations, but an oxford shirt and a wool tie with
corduroy pants are a great casual winter look. A wool cable knit sweater can add a
component of texture to your attire.
Fabric sheen, shiny vs. dull, is also significant. Shiny is more appropriate for
evening social functions and can look "cheap".
Both Fabric Weight and Texture come in to play with seasonal clothing.
Be careful to wear items appropriate to the season. A heavy ski sweater
doesn't work with linen trousers!
Additional Details:
Think about the situation you’ll be in, and your image when you choose your
clothes. You don’t always want to project a power authority image. Sometimes
you want to appear as a friendly, “let’s work together” person.

Playing with Matches

(and Mixes):
The word match comes from an Old English word "gemaecca" which was shortened
to "macche" meaning mate or companion!

Color Patte Tex Weight

rn tur
e

Match Black Pin Gaba Flannel shirt

shirt Stripe rdin Wool tie
Black suit e Tweed pants
pants Stripe pant
d tie s
Stripe Silk
d shirt shirt

Contrast Navy suit Plaid Cott Broadcloth shirt

White shorts on Silk tie
(Mix) shirt Stripe shirt Camel hair
Burgund shirt sports jacket
y tie Cord
uroy
pant
s

Sock colors match or can be slightly darker than trousers. Solid is more dressy
than patterns.
Shoes and belts match each other in color, and texture. With Navy, or gray suits
and trousers, black or cordovan shoes work best, but a dark brown shoe can add a
sophisticated look. Tan, brown, olive and other earth tone suits and trousers look
best with brown or cordovan shoes. Some circles think that brown shoes are not
dressy enough for wearing in the evening.
With Jewelry, belt buckles, etc., silver is considered dressier and works best with
navy, blue, black or gray, while gold matches brown, olive, and other earth colors.
Traditionally gold was appropriate for day, and silver for evening, but with the
advent of a more casual approach, both are interchangeable.
You may want to coordinate the metal color with your watch and ring, so that
everything, for example, is gold, but that’s not really necessary. Many watches
contain both silver and gold and color mixing is not scorned.
Don't worry about matching color of jewelry; just make sure it matches what
you're wearing in level of elegance. (no sports watches with suits.)
There is a "Rule of Seven" practiced in women's fashion that applies to men as
well. The "rule" states that there should be no more than seven points of interest
on your body at any one time!
The theory is that too much visual stimulation detracts from the total look.
Points of interest could be a watch, pocket square, bright tie, blazer buttons,
braces, cuff links, fashion glasses, facial hair, vest, anything that could draw
attention to that item.
Some caveats for traditional business wear: Class rings are best left in your
jewelry box after you enter the business world. Ornate belt buckles (like your
1985 Rodeo Champ) should not be worn with a suit.
Rules are good to keep in mind, but don’t be afraid to experiment.
Be constantly on watch for coordination ideas. Observe the attire on TV
(newscasters are more conservative, while sportscasters are avant guarde).
Read men’s fashion magazines, watch movies, see what your boss wears to work,
and walk through department stores, to analyze what goes well together.
But just because a store or magazine is featuring yellow plaid short sleeve shirts
with lime green striped ties doesn’t make it right.

Champagne!
"Come quickly, I'm drinking stars"
-- Dom Perignon
Champagne is the wine of celebration, or if you were Marilyn Monroe it’s just bath
water.
To help with your particular celebration here's a 10-step primer for mastering
those bottles of bubbly. (at least it's not a 12-step program!!)

“I get no kick from champagne.

Mere alcohol doesn’t thrill me at all,
So tell me why should it be true
That I get a kick out of you.”
-- Cole Albert Porter (1891 – 1964)
“I get a kick out of you”,
from “Anything Goes”, 1934
The Night They Invented Champagne!

Champagne is sparking wine produced by a traditional

method named for the Champagne region of France.

True "Champagne" only comes from this region near

Reims, Epernay and Ayers in northeastern France, and
accounts for 20 percent of all French wine and spirits
production.

The word is derived from the Latin campagna, meaning

countryside, a name for this area of France since the
Middle Ages. Although other French wine-producing Only French wine
regions claim to have made sparkling wine earlier, this
area was the first place to produce it in significant from the
quantities. Champagne
region is truly
What makes champagne unique is that it's made by a considered
process called the "methode champenoise," and
champagne.
requires that a second fermentation be done in the bottle,
the one that you take home from the store. The natural
by-product of yeast working on grape sugars is carbon dioxide, which stays in the
wine since it can't escape from the tight enclosure.

The first fermentation produces still, acidic wine. Before this is bottled, a small
measure of wine, sugar, and yeast is added (known as the liqueur de tirage) and
the bottle is sealed. The liqueur de tirage triggers a second fermentation inside
the bottle, and the carbon dioxide bubbles are trapped inside.

Next comes the process of riddling, or remuage. The bottles are arranged in
special automated racks, tilted upside down and turned at regular intervals to
shake the yeasty deposits down into the neck of the bottles so that it can be
removed.

At the end of this process the neck is frozen and the bottle opened to allow a plug
of icy lees (sediment) to shoot out (dégorgement). The bottle is then topped off
with a small amount of still wine and sugar solution (called liqueur d’expédition)
and resealed.

The amount of sugar used at this point determines how sweet or dry the
champagne is. (see below).

Wines with bubbles but not produced in the French Champagne region are
called "sparkling wines".

Sparkling wines can be made by carbonation (like soft drinks), made quickly in
large vats, or made by the methode champenoise.

French sparkling wines from other regions are restricted to words like "Methode
Traditionnelle" or "Methode Classique" to indicate adherence to the classic
methods, but they may not use the words champagne or méthode champenoise.
 Some examples of sparkling wine from other countries are Italian Spumante,
Spanish Cava and German Sekt. French law, not international law, controls the use
of the word "champagne." As a result, producers from other countries including
some American wineries call their sparkling wine "champagne" without any legal
repercussion.
1. Choose the Champagne
There are several factors in choosing a bottle of fine bubbly: price, quality, taste and even
bottle size.
How do you determine quality champagne? It's in the bubbles. There are 49 million
bubbles in the average champagne bottle, according to some scientific research. Small
pinhead-size bubbles indicate the finest Champagne; big bubbles (like seltzer) are not so
desirable. Big champagne bubbles are called "oil de crapaud" or "toad's eyes" in French.

Champagne is usually made as a cuvee, or a blend of three kinds of grapes (two reds and
one white) -- Chardonnay, Pinot Noir and Pinot Meunier. The more white grapes in the
blend, the lighter the Champagne. More red grapes give the champagne a fuller flavor and a
darker color.
• The term Blanc de blancs signifies the Champagne is made entirely from white
grapes, usually chardonnay, which produces a lighter, more elegant taste.

• < A>Blanc de noirs indicates white wine made from red (black) grapes, usually
Pinot Noir, which produces a fuller bodied, richer or fruitier Champagne. It's often
pale gold in color with a hint of pink.

• Rose is a pink color, produced by blending in a little red wine or leaving the dark
skins of Pinot noir in the wine making process longer.

The containers used for the first fermentation can also influence the flavor. Wood casks tend
to give a fuller body and bouquet than Champagne fermented in stainless steel.

Champagne also comes in choices of sweet or dry, indicating sugar content. Look for these
designations on the label:
• Ultra Brut or Natural is the driest champagne available. It's maybe too dry for
some tastes, but does pair up with some hard-to-match foods due to its clean purity
of flavor. It's created by not giving the wine a "dosage" (a French term for a small
amount of sugar syrup that is added to virtually all champagne before the final
corking).
• Brut is very dry and is the standard for fine champagne. Dry champagne was
created in 1876 due to British demand.
• Extra dry (actually not a dry as brut) is fashioned by adding a little more sugar to
the dosage, which results in a softer and smoother champagne without being too
sweet.
• Demi-sec (sec means sweet) or Cremant indicates very sweet champagne, more
suited for dessert, which is produced by increasing the dosage to leave some of the
residual sugar intact after the secondary fermentation. Cremant is French for
"creamy" and traditionally refers to a sparkling wine with less pressure and softer
effervescence.
Vintage champagnes are a made using only the grapes harvested from a single year. Most
champagnes are a blend of different vintages, so there is no year on the label. In the best
harvest years, however, many producers do bottle some of the harvest as vintage, rather
than blended to show off the characteristics of that particular year. Vintage champagnes
are, of course, more expensive.
2. Chill the Champagne
“My dear girl, there are some things that just aren’t done, such as
drinking
Dom Perignon ’53
above the temperature of 38 degrees Fahrenheit.
That’s just as bad as listening to
the Beatles without earmuffs!”
-- Bond, James Bond in Goldfinger (1964)

Champagne should be stored in a cool, secure place. It won't

improve, so don't bother to keep it for too long. It actually
deteriorates after three or four years.
Since champagne is
James might have preferred his Dom a bit too cold, but who is to designed to be
argue with him?
chilled in water, the
label will not soak
Champagne is to be served cold, at between 43 to 48 degrees off.
Fahrenheit or seven degrees Celsius. To chill, place the unopened
bottle in an ice bucket with one-half ice and one-half water for 20
to 30 minutes, or refrigerate it for three to four hours.

Another benefit is when bubbly is properly chilled to 45 degrees Fahrenheit the pressure
inside the bottle is reduced by one atmosphere of pressure, or approximately 14 pounds per
square inch.
Never put the bottle in a freezer. Champagne is under a lot of pressure and a bottle that
explodes in the freezer is not pretty.
And sorry, but you'll never be able to add a champagne label to your scrapbook. Since the
bottle is designed to chill in water, the label glue, unlike other wines, is waterproof.
3. Cut the Foil
Once the bottle is properly chilled, you're ready to open it.

<>The first step to the traditional method is to cut the foil around the top of the bottle, only
removing enough of the foil to be able to loosen or remove the twisted wire hood.
<>To keep the cork in place until you're ready to remove it, place your right hand, thumb
or palm over the top of the cork. Don't move your hand too far away from the cork until you
have it out of the bottle.
There is a method of striking the champagne bottle with a large knife, or more dramatically
- a sword! just below the wire cage, but unless you're very experienced in this process we
don't recommend it.
4. Wrap it Up
<>Drape a towel or napkin over the bottle top and wrap it clockwise around the bottle to
prevent slippage. Hold the towel pressed against the middle of the bottle with your left
hand. The towel will catch the cork, keeping it from becoming airborne, and it also will
insulate the bottle from your warm hands. Do not let go of the towel until the cork has
quietly slipped out of the bottle.
5. Loosen the Loop
<>Feeling for it through the towel, undo the small metal loop that holds the wire cage tight
and twist it counter-clockwise until the entire cage becomes loose. Champagne connoisseur,
Jack Van Nort, tells me that the number of turns is exactly five and one half!
6. Remove the Wire Cage
<>With your right hand spread the wire cage away from the bottle
and cork. Slide the wire cage and any remaining foil off, leaving
the towel in place.
7. Twist the Bottle (yes, the bottle!)
<>Hold the champagne bottle at a 45-degree angle in front of your
stomach, pointed away from anything or anyone of value. Tighten
your grip on the cork and twist the bottle clockwise. Be sure to
turn the bottle instead of the cork.
8. Remove the Cork

Slowly and gently ease the cork out of the bottle. You want silence.
Loud pops are a sign of champagne-opening failure. There is an old
saying "The ear's gain is the palate's loss," meaning that loss of
A loud, gushing
carbonation at this stage affects the taste. For the fullest flavor you
want the bubbles in the wine, not on the wall. uncorking is the
sign of a
Once the cork is loose, your mission is to control the 80 or so
pounds per square inch of pressure underneath the cork. Hold onto champagne-
the bottle too, it also could shoot away. opening amateur.
Stubborn corks may require champagne pliers, which give you a
vise grip on the cork, and are available at your local wine shop.
9. Use the Right Glasses
The proper glasses for serving champagne are the long-stemmed, narrow flutes or
tulip-shaped glasses, which reduce the wine's surface area and keeps the bubbles
from dissipating quickly.
Avoid wide and shallow glasses, which were very popular but were never designed
for drinking champagne. Those champagne coupes (meaning "saucer-shaped") were
reportedly molded from the bosom of Marie Antoinette. The legend may be true, since
the Sevres porcelain factory did take a cast of the French Queen's breast to produce four
white bowls for her Dairy Temple at the Chateau de Rambouillet near Versailles.
Chilling the wine glass is not recommended. Another tip is that the surface texture of crystal
is rougher than ordinary glass, so more bubbles form on crystal glasses.
10. Pour and Enjoy!
Finally, wipe the bottle neck with a clean linen and begin pouring by holding the bottle base
firmly in one hand with the thumb in the punt (bottom indentation) and the fingers spread
out along the barrel of the bottle. Guide the bottle neck with the other hand.
Pour a little, an inch or so, in each glass allowing the froth to settle, then top off. Now
you're ready for a toast.
If you don't consume the bottle in one sitting, hard to imagine, you can use champagne
stoppers, which are made especially for the purpose and place the bottle in the refrigerator.
It should be good for several days. The handle of a silver spoon left dangling into the neck
of the bottle will keep the wine sparkling for a few hours.

Look for a range of various shades of yellow. Straw to gold is good, but brown indicates the
Champagne is past it!

“Sparkling Muscatel. One of the finest wines of Idaho”

-- A waiter in “The Muppet Movie” 1979

French Study Concludes Best Way to Pour Champagne!

French scientists (who else?) just completed a study on the best way to
pour a glass of champagne! Their report appears in ACS' Journal of
Agricultural and Food Chemistry (August 2010). The study concluded
that pouring bubbly in an angled, down-the-side way is best for
preserving its taste and fizz. The study also reports the first scientific
evidence confirming the importance of chilling champagne before serving
to enhance its taste, the scientists say.
Gérard Liger-Belair and colleagues note that tiny bubbles are the
essence of fine champagnes and sparkling wines. Past studies indicate
that the bubbles -- formed during the release of large amounts of
dissolved carbon dioxide gas -- help transfer the taste, aroma, and
mouth-feel of champagne. Scientists long have suspected that the act of
pouring a glass of bubbly could have a big impact on gas levels in
champagne and its quality. Until now, however, no scientific study had
been done.
The scientists studied carbon dioxide loss in champagne using two
different pouring methods. One involved pouring champagne straight
down the middle of a glass. The other involved pouring champagne
down the side of an angled glass. They found that pouring champagne
down the side preserved up to twice as much carbon dioxide in
champagne than pouring down the middle -- probably because the
angled method was gentler. They also showed that cooler champagne
temperatures (ideally, 39 degrees Fahrenheit) help reduce carbon
dioxide loss.

Locker room victory alternatives:

Even if your opening champagne in the locker room after the big win,
follow this careful cork removal method, then if it’s really necessary, you
can hold your thumb on the opening shake the bottle and get everyone
sprayed.
Or if you really insist on spraying the room with champagne and take out a window or two,
use the method of grasping the bottle at the neck with both hands. Press your thumbs
against the sides of the cork, after the wire cage is removed, and press on one side then the
other. By rocking the cork it will pop from the bottle followed by a foam shower.

"In victory you deserve champagne, in defeat you need it."

-- Napoleon Bonaparte (1769-1821), emperor

A Sip of Champagne History:
Dom (Pierre) Perignon, a blind monk from the Abbaye (Abbey) Benedictine d’Hautvillers was
in charge of the abbey’s wine making from 1688 to 1715. He developed the Methode
Champenoise, and is given credit for discovering Champagne.
The Romans planted the first vines in the Champagne region, which sixty-five million years
ago was under a prehistoric sea. The seawater left the soil laced with limestone giving the
wine a mineral flavor. The area was also cold and windy most of the year so that grapes
rarely completely ripened to make good still wine.
The discovery of secondary fermentation, the process that produces the bubbles, came
about one year (around 1698) when an early onset of cold weather after harvest arrested
the fermentation.
The following spring, rising temperatures began a secondary fermentation in the barreled
wine. Sparkling wine was not the desired product for Dom Perignon. Secondary
fermentation rarely occurred and was though to be a defect in the wine.
That thinking was erased with the famous tasting by Dom Perignon and the effort to
produce and perfect this “defective” wine begun.
Little was know about controlling fermentation by temperature. The monks discovered that
the finished wine was considerably improved if the secondary fermentation was contained in
the bottle rather than the oak barrels. Unfortunately glass making wasn’t able to create
bottles that could contain the finished product, which created a pressure of 80 to 85 pounds
per square inch in the bottles. They exploded at the slightest rise in temperature.
Dom Perignon developed blending, pressing and clarification techniques. He began to use
the stronger English bottles closed with Spanish cork instead of the wood and oil-soaked
hemp stoppers then in use.
In 1735 a French Royal ordinance was instituted to dictate the size, shape, weight, cork size
and secured with strong pack thread to the collar of the bottle.
In 1805 a 27 year old widow, Nicole-Barbe (Ponsardin) Clicquot, took control of her family's
Champagne company and developed a method for removing the sediment which had up to
then clouded the champagne. Her largest triumph was opening up the Russian market for
champagne in 1814 just as the Napoleonic wars were ending
Skeptics point out that there is some historic evidence that there was sparkling wine being
produced and consumed in London during the 1660’s!
Depending upon the size of your gathering, here are the choices of
Champagne bottle sizes:
Split 187 ml

Half-Bottle 375 ml

Bottle 750 ml

Magnum Two bottles (1.5 liters)

Double Magnum 4 bottles (3 liters)

Jeroboam The name means “l The name means "large bottle”

and was named for a King of
Northern Israel, Jeroboam I,
who died in 912 B.C.
4 bottles or 3 liters (sparkling
wine)
6 bottles or 4.5 liters (still wine)
Rehoboam This name means “very large
bottle” and is named for the son
of Solomon who died in 922 B.C.
There was a revolt against
Rehoboam and he lost the
northern portion of his kingdom
and ruled southern Judah.
6 bottles or 4.5 liters (sparkling
wine)
Methuselah Named for the theory that the
bigger the bottle the longer
quality champagne will be able
to age, in a big enough bottle
even to Methuselah’s age!

Methuselah was the Biblical

individual who lived 969 years
and has become a synonym for
longevity.
6 liters
Salmanazar Name comes from Salma, a
capacity measure used in Italy
12 bottles or 9 liters
 Balthazar Named for one of the three
Kings or wise men that brought
gifts to the infant Jesus and
meaning “King-sized”.
16 bottles or 12 liters
Nebuchadnezzar Named for the King of Babylon
from 605 to 562 B.C. under
whose rule Babylon flourished
and representing the biggest
King-size.

20 bottles or 15 liters

Special thanks to Judy and Gary Van Sant, and Jack Van Nort