Two things:

1.
I agree with Brian, in the way you'd go about using the camera. Set the camera to matrix metering +1Ev exposure compensation when you're shooting in the snowy conditions.
Just remember to adjust that setting if you change scene and not shooting in the snow!(eg. shooting inside a building or something).

Personally, I'd be 101% sure I had a CPL to use if it got sunny in snowy conditions.
Snow under sunny lighting is highly reflective and bright, and you may need closer to +2Ev compensation to counter for that.

2.
You have the S16 rule backwards
If you were setting at f/16 ISO200 and 1/200s and wanted to use f/11 instead, then ISO sensitivity must reduce and/or shutter must speed up!

So f/11 could be:

ISO100 at 1/200s or ISO200 and 1/400s.

If you set camera to f/11 and ISO400 (by comparison to f/16 with ISO200 and 1/200s) then shutter speed for the same exposure would need to be 1/800s!

1/200s -> 1/400s increase for the f/16->f/11 adjustment, and then from 1/400s->1/800s for the increase from ISO200->ISO400

Personally, I wouldn't worry about sunny16 when shooting with a digital camera!
You're camera will have a fairly accurate light meter calibrated by the manufacturer to work well for your camera's sensor.
The trick is to gain enough experience with the camera, understand how it measures the light for any given circumstances and with any individual lens, and start worrying less about metering and exposure, and more about just enjoying the moments and content in in the images you're trying to capture.

I wouldn't worry too much about WB setting tho. If you're smart, you'd want to be be shooting in raw format anyhow. WB in raw shooting is an irrelevant setting to concern about.
Only later on in your raw editing software do you then worry about WB. On the raw file in your editor, you then simply use the click to a grey point tool or use a specific temp/tint combination.

FWIW: on the very few occasions when I've shot in snow, they've always been in totally overcast situations. Camera is basically glued to the AWB setting, and so on the raw files I noted that in those same cloudy snowy situations that cloudy(6500K) WB setting seems to look the most natural. With a bit of tweaking and fiddling, you could go anywhere between 6000K and 6500K and not really see all that much difference(unless directly comparing side by side).