I have mentioned here before that the necktie is the only discretionary piece of a typical man’s daily outfit. Women may have a multitude of choices, but dressing a man is really quite simple: whatever the day and whatever the occasion, it is pants, shirt, shoes, and if it is cool outside, a sweater or jacket. Add a belt or suspenders, the almost obligatory underwear and some nearly as almost obligatory socks—and there you are. If you consider that style is what starts to happen the moment that taste transcends practicality, the necktie is the one item in the daily male outfit most amenable to becoming a statement of personal style. With the advent of business casual—that international license to look innocuous in the very environment in which you should most stand out—neckties of course have become optional for business and therefore have been routinely discarded by many men. With the long-hoped-for rise in male awareness about fashion, however, perhaps that will soon reverse. Think of the possibilities: you may once again walk into a business meeting or sit down with friends at a restaurant without staring at a rainforest of wiry hairs protruding through the V of an open-collared shirt and may actually, dare we hope, find yourself staring at something worth seeing. Remember, I said before that neckties have no protective function, not that they are functionless.
Credit: Alan Behr
The U.S. Copyright Office delivered a Christmas present to the creative industries: The third edition of the Compendium of Copyright Office Practices. Unlike its predecessors, the third edition is not merely a set of instructions to the Copyright Office staff for administering the registration and recordation functions of the Register of Copyrights. The new version is intended to provide guidance to applicants for copyright, as well, setting forth what is and is not copyrightable and identifying who is entitled to claim copyright ownership.
Fabric and jewelry designers will find its lists of non-copyrightable subject matter and its examples of the distinction between copyrightable and non-copyrightable designs instructive. While the Compendium reflects significant judicial decisions, collected in a table of authorities, it also ventures into areas that have been considered unsettled.
This is particularly apparent in the section devoted to the copyright in websites. Insofar as the Register of Copyright is concerned, the format, layout and “look and feel” of a website are not copyrightable; but the content—text, photographs, audio and audio-visual works—are copyrightable. The website creator may have a copyright in the collection or compilation of these materials, consisting of their selection and arrangement, even if it has not created the contents. If the website’s terms of service require a user to convey “exclusive rights” in user generated content, uploading by the user of his or her content to the site will entitle the site to claim ownership of the copyright in the content. But the Copyright Office does not make registration easy. It requires the users who authored the content to be identified by name in the application for registration. If there are too many to name all, the application should list several authors and indicate the number of additional authors and the staff of the Copyright Office may ask for a more complete list to verify that the identification of authors of user-generated content has been maintained by the site owner. And any registration for the content on a website will pertain only to the particular version submitted with the application, so new matter added after registration will not be covered by the prior registration. Although it may be made available for display throughout the world, a website is considered an “unpublished work”, unless downloading or sharing of content is authorized.
The Compendium does not have the force of law and the Copyright Office has frankly stated that it has addressed unsettled areas in the hope that its reasoning will be considered persuasive should the issues be presented in future cases. But the Compendium does control how the Copyright Office will address applications for registration and a review of its provisions will assist applicants for copyright in avoiding common problems that can impede registration. It is readily available on the Copyright Office website, www.copyright.gov, and each chapter can be downloaded or accessed separately as a pdf.
Credit: Helene M. Freeman
For a very long time, men were accused of wearing uniforms to work; those were the days when great sartorial decisions came down to: will it be a blue suit or a gray suit today? That has changed with business casual, of course, leading to a revised question: will it be the khakis today or corduroys? That is why now, more than ever, the necktie is so important. Because the necktie is about the only thing a man wears that does not have a protective function, it is only discretionary item that a man can wear in the course of an ordinary day. Which is to say, the necktie is about the only thing that a guy can put on purely for styIe—to show a little bit of what he is about.
I have a brother who works in finance out of an office in the Palm Beach area, where wearing neckties is truly optional. On his last visit with me in New York, he had to borrow one in order to get through his Manhattan meeting schedule. He made off with a lovely yellow and blue striped piece from Peter Elliot (my neighborhood menswear boutique), and of course he promised to give it back. Now he says it is his favorite tie and he wears it often—or whatever passes for often in Palm Beach. For all I know, it is the only one in his closet that does not have Mickey Mouse on it. When am I getting my tie back? When it needs a cleaning, I suppose.
Credit: Alan Behr
Over the years, retailers have liberalized their returns policies. I have been offered thirty days, ninety days, sometimes one hundred eighty days in which to receive forgiveness if I should change my mind. I have even been quietly assured that, if I sign up as a preferred customer, the returns privilege is open-ended, which I suppose means that you can bring back your bar mitzvah suit after you wear it a second time for your retirement party (as long as you have the receipt). Even if formal policy says no to a return, it may simply be ignored if you are polite about it and willing to accept a store credit as a compromise.
In part to soften customer concerns about the risks of buying online, retailers have made buying from the Internet into a shop at home service, making returns as easy as putting the product back into the box, sticking on a return label and sending it back from whence it came—sometimes at no additional cost. (Shoe purchases seem to be particularly blessed in that way.)
When the goods come from a boots-on-the-ground shopping experience, customers are increasingly becoming their own shop at home services, scooping up whatever looks promising (sometimes in alternative sizes and colors) and making final purchase decisions in the privacy of their own bedrooms. The result of all this back and forth is that is that, depending on the category, returns can equal as much as forty percent of a retailer’s sales—perhaps even more in seasonal spikes.
When an item is marked “final sale,” however, the retailer is saying: “I’ve had enough of all that; I really want this one to move; here it is at a very good price I would never otherwise accept; now take it and don’t ever let me see it again.” We can all understand why a no-returns policy makes sense for underwear. But consider this as well: every luxury retailer has stories about evening gowns returned the day after a well-publicized big event, fragrant with perfume. For the same reason, it is understandable why a jeweler would make returns difficult or even impossible—to avoid, that is, turning into a free lending library for expensive necklaces and bracelets.
So by all means, take advantage of final sale offers. (By definition, it is your last chance to buy the item anyway.) But keep in mind that there is no turning back when you do. Your moment as your own style consultant has come: if you buy it, you own it, so make sure you like it at point of sale.
A special, final and heartfelt warning: if you are a guy with a wife or girlfriend who examines what you wear as if your reputation and hers depended on it (How, you may ask, would I know of such a guy?), you had better bring her along, just to be sure. If she first sees it when you bring it home and on the spot offers an opinion along the lines of, “What were you thinking? Take that thing back!” it is no time for your response to start with, “Uh…”
Credit: Alan Behr
If the suit is for business (and how many bought by anyone who is not a groom are anything but?), be careful when bringing along the lady in your life. She probably does dress herself better than you do yourself, but you are not dressing for her: mostly, you are dressing for your boss. If you bring your lady love, and the sales staff see her walking in ahead of you, they know from experience that they have to sell her, not you; the next thing you know, you become the mannequin for an ensemble of her creation. Unless you are dating Donna Karan or happen to bring along Miuccia Prada, do not let that happen to you.
Maybe you look great in brown or maroon. Nearly all proper business suits are “city colors,” which means blue or gray. Best to make your peace with that and move on.
Fit is everything. After you have tried on three or four suits, you will nearly always do best by going with the one that fits best before the tailor makes alterations. The shoulders are everything. If they work, the suit may have a chance; if they do not, try something else.
When in a fitting, put on both the trousers and the jacket. During the fitting, if the salesman or fitter asks, “Are you going to wear the jacket open or closed?” answer “Both,” and give back the suit you have on. You have just been discreetly informed that the jacket is too tight and cannot be altered to fit properly. If the salesman asks if you “have enough room” in the pants, he is hinting that they look too small. Make sure that there is enough extra cloth at the waist and in the seat to let them out properly or hand that one back too.
Conventional wisdom holds that, when you try on the suit and stand in it before the fitter’s triptych mirror, you should look not at the suit but at yourself—to understand how you look in it. That is not as easy to do in practice as it sounds. Lots of guys who try that just see their own faces staring back at them in bewilderment. Others, myself included, start to notice that the mirror adds an unpleasant green cast. So look at the suit, look at yourself, tilt your head up and look at the light fixtures, glower at the price tag—just keep looking until something clicks in your head that you like what you have on. And if that does not happen, take it off and try again with something else.
If you live in what in North America is the temperate zone, you are probably in a place where the difference between winter chill and summer heat is so extreme, you will need two separate suit wardrobes: one in winter weight and another in tropical weight. (A good rule of thumb is that a summer suit should have a weight of cloth of between about 7.5 ounces and—at a maximum—nine ounces.) There is a third option, invented by sales people, known as “year-round weight.” That applies, as needed by them (but not you), either to a summer-weight suit the sales person is trying to sell for winter or a winter-weight suit being pushed for summer. Wool does not change its thickness to preference. If you call the sales person out on it, you know that he or she is really having you on if the response goes: “You can wear it ten months of the year.” If that happens, vacate the area immediately and find someone who will give you a straight answer.
Finally, when fitting a suit: if you let the sales person and the fitter know how much you really like it, and you see that the reaction is guarded hesitation—ask them politely to come clean and also ask if the sales person can recommend an alternative. Together, they have likely seen plenty of these come and go, and if your test model does not work for them there and then, the chances are good that it will not work for you later.
There, that was easy. Next step—accessories!
Credit: Alan Behr
Each year, as winter approaches, I prepare for a presentation—solely in my own mind—of the Frostbite Award. That is the imaginary award that I give to the last person seen wearing flip flops in the course of a given autumn/winter season. Flip flops as working or commuting footwear have always been something of a mystery to me. Flip flops are, after all, beach sandals, but as urban footwear, the flip flop trend has had formidable staying power far north of the Tropic of Cancer. In spring/summer, I assume it is all about comfort, but how does that explain the continued presence of urban flip flops as the days shorten, the leaves fall, and even as the snows arrive? Only the recipient of the Annual Frostbite Award knows for sure—that brave, hearty urbanite who freezes from their toes to their heels in the name of style. We can only admire their perseverance.
Credit: Alan Behr