Dressing rue Mas correct
The bow tie should finish within the outer edges of a man s eyes and the outside unes of his face lb wear a bow tie stylishly, two issues should be considered. I irst. its width should not extend beyond the outer edge of a person s face, and definitely not beyond the breadth of his collar. As w ith other neckwear, the shirr s collar should frame the tie's knot Button dow »> w ith some roll or longer straight point or softer semi spread collars w ill happih accommodate the average size bow tie.
Ensuring that the bow 's w idth ends up w ithin the collar's outer edges is easih accom plished today, thanks to the graduated band system that superseded the original exact mzc bow tie. Don't purchase am bens tie w ithout first tr\ ing it on so as to be certain that it can be short ened enough to harmonize w ith your own facial features This means that if after you have adjusted it to your exact neck size, its bow is still too w ide (a common problem), check to see that it can still be made smaller to fir correctly.
The second issue concerns the t\ ing of the bow. The bow tie was once described as a "garment that combines confident flourish with absolute respectability ' There is no point in sporting the bow tie unless you plan on tying it yourself. Place a mathematical perfect, pre tied bow under your chin and you forsake all individuality: Hie hand tied bow s mood) loops and unpredictable sw irls give you that subtle insouciance, that desired aplomb l ew men wear theirs with more sangfroid than the I rench boulevardier and actor Philippe Noiret. I lore he fashions his club bow w ith understated elan Tweed jacket, alpaca waistcoat, soft collar shirt, mini dot bow. spot of foulard at chest, and muurclicmcnt. the obligator) cigar. Gallicgottt at its most succinct Note You are more likeK to find men with real per sonal style from those w ho have lived long enough to have observed it and then appropriated it for themselves- in other words, the over fih\ set.
Tying the Bow Tie Learning to knot the bow tic is not the daunting task you might imagine it requires no more skill than tying your shoes. One way to practice is to first try ry ingone around your thigh. Sit down and cross your legs. Wrap the bow around your thigh just above the knee Now close your eyes and tie it as you would your shoelace. Opening your eyes, you should find that although it may lack a certain aesthetic, you have manipulated the bow into a recognizable knot
With it still wrapped about your knee, the bow can now be fine tuned Ilold its left loop in your left hand and the right loop in your right. Pulling the two loops in opposite directions tightens the knot, w hile pulling the two tab ends reshapes and straightens the loops
After familiarizing yourself w ith the process, now try knotting it around your neck but w ithout a shirt. For novices, the shirt collar complicates the learning process The big difference here is that in order to get each side of the bow to come out equally in width and length, one blade must start out four or so inches longer than the other Which side you choose to make longer is really up to you.
TH e Four - I n - H and The term "four in hand" for the slipknot now worn through out the world came into general use at the end of the nineteenth century. The exact derivation of the term is still unsettled. \t one time, it was thought to be a reference to the l:our-in - I land Club, founded in I ngland in the nineteenth centun by young men who indulged in carriage racing and then adopted this type of knot for their ties. Or. it could have referred to the way one held the reins of a four horse carriage. The new four in hand knot was quicker to execute, and considered more masculine than the decorous bow tie.
With its contrasts and harmonies, the necktie's design comes close to the art of painting; howe\er. knotting it resembles the art of sculpture. The manner in which a tie is knotted offers the onl\ true means of imposing one's individual stamp on it . Over time, this male rite should evok e into another manifestation of one's personal style. Most men w ere introduced to the discipline of necktie decorum b\ their fathers. Since the majority continues to regard this early indoctrination as somehow sacrosanct, few have ever revisited this procedure in a creative manner. Gentleman designer Luciano Barbera. one of Italy's most respected tastemakers. shares some thought^ on his relationship with the necktie: "The tie follows the culture. In the fifties. I wore .1 bow tic In the sixties. I tried a Windsor knot. In the seventies. I went open necked. In the eighties. I had a big aggressive knot that said. Don't mess with me.' Now I find that what I want is a less fussed over knot with a soft pleating. It is simple. It is declarative. It feels right. I low will I wear m\ tie in the next decade? Who knows? Ask me then/
\lthough two knots, the W indsor and half-Windsor, still enjoy limited use, the four in hand remains the preferred knot for most facial types and for the world's most clegantl) attired men The four in hand's principal advantage is that it is the simplest knot to execute and its thinner frame fits into all shirr collars w ithout pushing its points away from the shirt body, like the wider bodied Windsors. On a purely architectural basis, its conical form flatters more men's faces than the Windsor's horizontal geometry, which looks at odds under a tapered chin I he four in hand's slighth asymmetrical set also helps the presentation appear less fuss\ than the s\ mmetricalK static and triangular Windsor presentation.
Its hybrid, the hall Windsor, can almost be excused, if onh to help a thin tie produce a larger knot I lowever. should a fuller knot be desired, it's better to use the Prince Albert vcr sion. basicalh a four in hand looped over a second time. This feature makes it particularly attractive to short men. because it results in an abbreviated tie length more consistent with their stature W hen looping the tie over the narrow strip, care should be taken not to pull the knot too tightly: otherwise passage of the second loop will be difficult. Like the four-in-hand knot, the Prince Albert's asymmetrical set adds that salutary touch so important in conveying the look of nonchalance.
Regarding the appropriate width of a man's tie. the principal criterion has always been its relationship to the jacket lapel—-once again, fashion must defer to the architecture of its practitioners. Widths between 3' 4 inches and 4'4 inches will generally ensure longevity A man with narrow shoulders has less chest to drape a lapel across, and therefore its narrower dimen sion dictates that the tie follow suit. Conversely, a man who has broad shoulders requires the
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