Colour Analyst Training in Vancouver

The two Canadian cities from which I receive the most requests for 12 Season personal colour analysis (PCA) or colour analyst training are undoubtedly Toronto and Vancouver, more than all the others combined.

The beauty of Vancouver for me, besides the city itself, is the presence of many friends. Therefore, travel expenses are minimized. A beautiful studio space is also available for us until mid-June, and quite possibly in the fall.

The cost for the course or the PCA would be about the same as if you came here, with details that we can discuss. For instance, we would probably ship your own drapes to use for the course and reduce the luggage weight (so still shipping and HST that would be paid (and tax deductible), regardless of location).

No dates have been chosen. This is simply an early call to see how much interest there might be.

PCA appointments are entirely possible also.

The information about the courses is at

The information regarding PCA sessions is at

Please email me with any questions. I am at:



Is Christine A Summer?

This topic comes up often. I thought it would be fun and instructive to try it out. We will see three videos of me in Light Summer, Soft Summer, and Dark Winter.

All three were filmed on the same computer, same background, identical lighting and location, within 30 minutes of each other. I wear a small amount of the same foundation. For each, I am wearing cosmetics in the middle of the darkness range for the Seasons.

My purpose is not to prove that I am Winter-based in my colouring. That’s asking too much of this medium. Many of our analysts (and clients) have met me in person and even analyzed me. You’ll have to ask them how they see my Season and appearance. They know that complete truth and nothing but the truth is what I send out and what I like to get back.

Here I am in full and strongly applied Light Summer makeup. IDK about you but all I see are eyes and no face. Could I be a Light Summer who needs to wear the darker colours to show up? That can’t be right, can it? How am I supposed to use that palette?

As Light Summer, at YouTube here or below:


As a Soft Summer. Nevermind what I look like, I am certain that the yellow drape does not look on me as it did on Kaarin in her analyst intro post. It is the identical piece of fabric.

We are starting to finally see this person.

Does she look older? Is that a bad thing? All optical effects are a trade-off. A colour analyst could take any redness out of a face, though she would have to jaundice or drain the face to do so.  We can erase a face to look younger, in that bland, flat, undefined definition of young (rather than the strong, healthy definition).

I prefer to say that the best you is the real you. Surely, the best you cannot be the fake you. If some age lines are part of the real you, great. Wearing our correct colours, the viewer’s attention is on the intensity of the eyes and definition of features. Age effects become less noticeable because the overall picture contains so much more information.

As Soft Summer at YouTube here or below:


In Dark Winter,

The video is here at YouTube if it doesn’t play for you below:

Does the yellow drape make the face yellow? Looks a bit that way.

Maybe it’s not that person’s perfect yellow.

Maybe yellow needs some management, as it often does on cooler colouring.

Could be that the lighting in the video is hardly ideal for knowing what is really occurring in reaction to the colour.

Or that the version of Dark Winter that I present is too intense and needs some toning down with my inherent warmth, saturation, age, and other parameters, to suit your visual preferences. Easy to do.

None of which disqualifies Dark Winter. Colour analysts in our group (Analyst Directory in the tabs across the top) work with you to adjust the Season to who you are inside it.



PCA and A More Holistic Self

As humans, we are wired to respond to the same sensory advice in the same way. We agree about how yellow, the scent of roses, and the taste of cherries feels. Our responses to the combined input of apparel, alone or in combination with a person, is very similar too. We laugh at Go Fug Yourself because they state the so-obvious-it’s-funny and make analogies we all recognize.

From a Pinterest reader:

You talk about color groups pulling off some styles better than others. When Season and Image Archetypes [for info on IAs, start here] do not go together stereotypically, do you think that some colors and some patterns/fabrics/styles simply don’t ever belong together?  Or has your thinking changed on this since you’ve started thinking more about archetypes, so that you now think of the two issues more separately?

The two issues are separate though it took me awhile to have the trust that it would work in the end until my eyes had experienced it enough. For the IA, I pretend they’re on a B&W TV, which helps when the Season and IA send out different energies.  For instance, I can see the many small triangles in a Gamine face of a True Summer when I am not distracted by colours. When the shapes and Season speak the same language, as in Spring and Gamine, it is almost harder to see where one ends and the other begins. I work from the colours first because they influence the perception of the lines more for me (could be the reverse in other people, not sure), and then I use them to fill in the lines.

At first, I thought there would be conflict in the apparel if Season and IA were untraditional together. There hasn’t been, in the same way that we can expect the PCA of a person of dark complexion and black eyes to be more difficult, but it really isn’t. It’s a Keep Calm and Carry On moment of trusting the process. As long as colour and line are kept to their right formula for the person, the combination always appears to work, at any age.

Given that the stereotypes for Seasons especially are fairly limited, the combinations create a counter-intuitive situation somewhere in most real people. This is especially so because those few Season stereotypes then get spread even further, across 2 extra Neutral Seasons for each True.

The thing to forget about first are the stereotypes. The colours, fabrics, and styles’ ability to work perfectly well together is quite intact. This discovery is a journey that I trust based on massive personal evidence and continue to explore.

The faith we place in stereotypes is amazing. Maybe human thinking patterns tend to like pigeonholes as the easy way out. A similarity might be trying to convince someone from the old days of PCA that brown eyes are not always Winter. YangGamine is an archetype that helps keep me very broad-minded about combinations because some aspect of it needs expansion in my learning every time a new one walks in.

I realize I have not answered the question. About that…

The question is very valid in that some minor adjusting of the tolerances might be in order depending on the combination. A Summer YangGamine is more reasonable in shiny black buttons than a Summer Natural. A Bright Winter Natural will be much more appealing to look at in pebbled leather than a Classic. Actually, we have not left the parameters of these groups.

Though Rachel is the expert in IA, my guess is that we are still within the G and N formulas, where contrast and texture are written into the two codes. A Spring Natural man will wear prints that are more random than a Winter Natural, not because we interpret Natural differently but rather by what their different Seasons bring into the picture.

One difference though is that shopping can be harder when the Season and IA seem to speak a different language. When their energies are similar out of the gate, whether coming from colour or shape, as Summer and Classic, it is easier to find clothing than say, Summer and Gamine or Spring/Dramatic. It seems that whether by human nature, sales patterns, or by embedding of stereotype, manufacturers (if not designers) find it easier to put the most obviously similar forces together.

I also know from experience that shopping gets easier. With the resources available through sites like this one, social platforms like Pinterest, and the worldwide market on the internet, people build their personal shopping destinations.

Part 1

Outside my window:


The back yard, our frozen pond of a swimming pool, the animal tracks. The Featured  image around the post title is the side of the pool with the big barn that stores some of the farm equipment visible over the fence.


I have funny children, who doesn’t? My son and his friend dragged two Lay-Z-Boy (if that’s not how it’s spelled, it should be) armchairs out on the lawn in the summer. There they sat, reclined and talking hockey, like good Canadian men. This is our garden furniture now. Maybe one day, they will be planters. 


In case anyone thinks they recognize themselves in the stories below, it is not so. Each person and story is a fusion of real people and recurring stories. What is absolutely original in every one of my posts are the questions and comments from readers.


This video is also here on YouTube.


Part 2


Back and forth, back and forth, please don’t run over the dog…


One of my daughters derives endless entertainment from taking these skyline pictures of the dog. They have changed little over the years but we still get the photos. 

So there is  what is outside my door, depending on the day. What else can I do? Think some more, this time about where we take our fashion advice.

As an outsider looking in to the image industries, how people are treated seems irrelevant. It becomes about achieving status. No wonder young women are exhausted and cannot figure out why they can’t get ahead.

Because there appears to be only one way to get There, it puts the rest of us in constant fight or flight.

The video below is here at YouTube.



Note: Many past articles that included pictures of real individuals have been taken down. You may find some broken links. The pictures found their way to Pinterest and other places. It is the way of today’s world and explains why such images, despite their enormous value in demonstrating how the Seasons really look,  are posted rarely, if at all.


Colour Analyst Meeting 2015

The date and location have been set for this year’s meeting for the 12 Blueprints and Your Natural Design analyst group.

We will see one another in Grand Rapids, Michigan, from September 24-26, 2015.

The weather should be sunny and warm. Not like what’s outside my windows today…



The location is the Baymont Inn in Walker.

For those who will fly, use the Gerald R Ford International Airport in Grand Rapids. It is about 20 miles from the hotel and is all expressway. Taxi is roughly $35. Between Terry and I, we may be able to help with driving.

I am negotiating a block of rooms. If you prefer 1 King or 2 Doubles, please tell me asap. Once I have a contract, I will pass the number along so that you can reserve at that rate.

Since we are renting the meeting room in the hotel and catering in lunch, there will be a registration fee this year. I will know the amount when I have a better sense of how many attendees we will have. Email me about this at anytime if you have Q or concerns.


This meeting is happening for you. We are here to help you, speaking for Terry and I and collectively for our group. If you want to learn something, tell us what it is. If you feel some uncertainty but are not sure how to address it, let’s talk about it by email or Skype.

The agenda is still fairly open. We will include several drapings, structured in various ways. Time will also be set aside for in-depth debriefing after each draping,

Other topics include cosmetic colour and application and everything around the Red Drapes. Many analysts have requested a conversation about creating a business structure and developing business opportunities. This will be featured somewhere, possibly as a peer-exchange round table in a relaxed evening session, which I personally look forward to. I love this topic.


Drape Sale

  1. 50% off ($14) drape sale. Since the beginning of drape making almost 2 years ago, changes have come along, including my commitment to more expensive fabrics and more diverse colours (reflected in a higher purchase price than when we began). This has resulted in an accumulation of perfectly good drapes that can be put to great use. If anyone is interested, I can bring them.
  2. Anyone interested in adding to their Luxury sets, or want specific colours in Luxury sets, or who would like to add (not exchange) different colours to their Test Drapes, I am happy to take any requests and have the fabrics available to view. They can be made into drapes once I know how many are wanted. If you could email me privately so I can keep everything organized, would be great.

The Revenue agencies of both the US and Canada require that drapes ship out of Canada (rather than you taking them home with you). I have no choice in this. I will be happy to take your orders and fill them once I’m back in Canada.


What’s Next

We are at an exciting time in our industry. Modern colour analysis is being better defined every day. Improvements in accuracy and service at the single client level are giving us the confidence to find new applications for this most remarkable service. The advent of social media platforms allows us to offer our clients resources more generously than ever before, as we enjoy our shared passion and diversity. So much to talk about.

Looking forward in every possible way, and especially to seeing you in Grand Rapids.



Yellow for 12 Seasons

Colour is what humans use to tell the energy of light. The chemical reaction connects up in our brain and creates certain mood chemicals. We all have a version of this gorgeous happy colour that looks gorgeous and happy next to the colours in our skin. More should wear it more often. Most have a love-hate relationship with it.

*Joan asked:

Yellow is my favorite color, but I’m a True Summer and I’ve never found a shade that didn’t make me look ill.  It would be great if your website could show a photo of a True Summer person wearing the right shade of yellow.

A photo of someone looking great in their yellow is a tall order. It doesn’t happen often on most of our visual resources. I would have to post a picture of a private individual who has been draped, but people prefer to maintain their privacy.

True Summers are hard to find and public ones are all highlighted blonde. Kelli Williams of Lie To Me might be. I pinned her picture on the Season and Style Pinterest board. I also pinned some pictures of British royal women wearing various yellows. Duchess Kate is probably a Soft Summer (Summer colours with a bit of Autumn). The Queen may be a True Summer (certainly has the personality to go with it, the good of the many and so on). Diana was probably a Light Summer (mostly Summer colours in her pigmentation, influenced by some Spring effects).

A couple of things before finding some yellows. Be open-minded and keep looking, as Joan is. People often have categorical feelings about yellow. With that mindset, they might not be open to the perfect one when they have it on. If it really harmonized with your palette, wear it for a few days. Ask objective people. Start with small elements in prints or accessories. For some reason, many people are very sensitive to this colour.

Second, even inside our Season, yellow can be fussy. Some people wear many versions well, definitely including True Summers. Others are more particular where if the yellow is not their own, they take on a sallow look.

Third, get good at harmonizing your clothes to the entire palette, not matching single swatches. The database contains lots of info on how to do that but if you are not sure, write and ask. Your whole face has to wear the yellow, or any colour, so you need to match the whole palette to it. If there are particular colours in your fan that you feel best in, match the yellow to those. Try many in the stores. Only by knowing how OFF looks and feels will you get good at recognizing ON.

Hue and Stripe Catalogs

Do you remember The Dress Spot? You can still find their link in the right column of this website. This was the first online tool that could actually help women find dresses in their palette colours. It really worked.

And then it went to the next level, called Hue and Stripe. Now by membership subscription for image and colour consultants (and still by invitation only during the testing stages), H&S enables us to build virtual closets for individual clients. Using fantastic search filters for many wardrobe items, scanning across 12 retailers and more being added all the time, not only can we educate our clients, we can shop for them. The consultant can emails the client with an item or a whole closet, complete with commentary. Items link directly to the retailers, both US and UK. The only searching the client does is to find her size.

Hue and Stripe offers a second way for us to help you in the virtual blackboards called Catalogs that we will see today. In this post, I want to show you some yellows. The picture below is a screenshot of a section of the catalog at H&S.

This link (also just below this paragraph) takes you to the live Catalog on the H&S site. You can travel from those images directly to the retailer. Should an item be sold out, the image will be gray. Hovering over it will clear the fog. If you are reading this post a year from now, no worry, the image will remain.

I’m doing this for the first time myself. If anyone is having trouble with some part of the technology, please post a comment or email me (

Despite the care that Hue and Stripe take to only show items against white backgrounds in neutral lighting, shopping online imposes certain limitations on everybody including me. You only need one workaround: Do not buy anything that you cannot return.

Yellows Catalog Capture


You will see my thinking out loud comments as I reason the items into a Season. Feel free to offer another opinion. I would love that. With pictures, everybody takes their best guess.

What I hope to show you is an idea of what I would be looking for if I were shopping for these Seasons. As with draping a human being, I think first about which of the 4 True Seasons the item probably fits into. Settling it into one of the Neutrals comes after.

When I shop, I repeat certain phrases in my mind. Shopping goes much faster when you know what to ignore, almost shockingly so once you are determined to ignore black.

Winter yellow is

  • either nearly white, icy frosty
  • or very yellow, lemon
  • may be slightly greenish, feels acidic

 Summer yellow is

  • further from white than Winter icy yellow, but can be quite light if muted because Summer colouring likes lightness
  • dusty, so it feels soft, not sharp
  • can be greenish because it’s cooled with blue, but the softness makes the green less obvious than Winter unless you hold it next to a warmer yellow

Spring yellow is

  • buttery, apricoty, peachy
  • orange-ish but not earthy (which is Autumn orange + muted)
  • lightweight and floaty in feeling, like it might be sheer
  • nice with tropical fruit, sunrise colours

Autumn yellow is

  • strong, rich, heavy, thick
  • can be greener in the Neutral Seasons, more orange in the True Autumn
  • a vase you might use for dried grasses or a basket of squash and pumpkins, would disappear on a table with Indian food, sunset colours

Neutral Beige

Along the way, the question has been asked about a universal colour that looks good on every colouring type. I believe that colour is more theoretical than real. Even the neutral gray that we use as a surround for draping seems to flatter some colourings and not others. As long as it doesn’t distort or change any native colours and is mostly blank in our awareness, it works fine.

Neutral beige would be similar. Neutral beige means it doesn’t pull red, blue, orange. It would neither drain or add colours to any colouring type.

Since I looked at about 3000 tops to find this, the better option is to know your beige. There is no universal colour but the fact that these light beiges are awfully hard to place in one single Season supports the conclusion that they could work nicely in several wardrobes. They might be a bridge more than anything.

The link is here and below:

A screen capture portion of it:

Neutral Beige Capture



  1. A new Facebook group.

For clients of all colour analysts trained by me at 12 Blueprints or Terry at Your Natural Design, the Your Natural Blueprint Color Forum meets on facebook as a Secret Group. Therefore, new members are added by invitation by existing members.

From the intro prepared by Cate Linden (Kentucky),

The purpose of this group is to provide a gathering place for people who have been draped by a 12 Blueprints/Your Natural Design analyst. All 12 seasons will coexist in this group, which is intended as a private resource for our clients.  We learn so much from our clients; we know you will learn from each other.

Please share your thoughts, tips and questions. Our aim is to cultivate an atmosphere of mutual learning and respect, and above all to share the beauty and joy of color with you as you grow into your season.

You now have structured and unfiltered access to other PCA practitioners. The group is secret so you can share your emotions and experiences safely, ask questions, find group solutions, and get answers for your own situation.

I can’t link to a Secret Group since it can’t be searched. Connect with Cate Linden by email for an invitation. Just tell her your Season and which analyst you saw. She is at

Don’t worry about your language skills. Facebook is well translated and there is much to be learned. The beauty of the internet is that it wipes out class systems. Like a beach, it comes very close to an ultimate democracy. Enjoy all the good this space has to offer.

  1. Travel dates.

Analysts are traveling once again…maybe just those that live in the sunny South. Have a look at the schedule. It has been updated.

3. Colour Analyst Training Course dates.

I expect to post weeks in which the course will be held later this month. Following last year’s plan gives us the final weeks of March, April, May, September, and October. If you have particular dates in mind, please contact me so we can plan around your preferences.


(Featured Image: Quebec City for New Year’s.)


Ties for the Soft Summer Man

Working with men is one of the many pleasures that makes this colour analyst’s job even better. They are content to work with what is, both in their appearance and in their palette. The clothing choices are more limited. And I could look at ties all day long.

*Sam asked about his Soft Summer colours:

I am an [urban professional], which means I have to dress within fairly narrow (conservative) confines.  I have to wear a medium/dark suit in blue or grey (easy enough), and a light shirt (usually in blue or pink) with understated if any pattern, and a mid to dark tie.  Any tips on how to pull this look together as a soft summer, so that I don’t over-contrast but the suit, shirt and tie still pop (the pop seems like such an essential part of the look)?

Pop is a loaded word that can go two ways. The first way is desirable, where one colour can energize another without becoming a distraction. The energizing effect is 2-way, where we can see both colours equally and appreciate their contribution. Both are more together than they are apart.

Eyes are a special case because eyes are special. Their colour and sparkle should be the #1 focus for our attention. Every part of makeup and apparel plays a part to build them up. We want to look at the eyes without our gaze being distracted by or dropping to the lipstick or tie.

When a person’s colouring falls between two Seasons, this is one of my tests with the Luxury Drapes. In one Season, if my eye keeps dropping to the drapes and away from the person, it will not be my choice. The other one may feel too safe but that’s probably just because of the comparison. Every decision we make depends entirely on the comparison of the moment. Change the comparison; you usually change your decision about the very same colour. Especially on men, looking too juicy can reduce the power and nobility, though this applies less to Spring colouring (and Gamine archetypes, I would think).

The Fashion World meaning of pop usually refers to one item becoming prominent by muting the rest. Who has not heard the word at the makeup counter? In interior design, my recent student tells me, an accent is made to pop by muting or neutralizing the surrounding colours. This could be great in a room. On a person, it reads an unbalanced, not an association we want others to have about us. It is the makeup wearing the woman. It is the tie that walks in the room before the guy and does not leave when he does.

Keeping the colours we add in harmony with each other and with the person is how we energize the whole equally, creating impact with unity.

Sam knows all this. I asked him what pop means to him.

The question sprung from the combination I wore yesterday: A dark blue suit, a muted blue/white striped shirt and the perfect, soft pine green tie.  I liked the way my face (and especially my eyes) looked, but the clothes themselves didn’t feel quite right.  The green didn’t really define itself against the blue.  As you put it, they didn’t stand apart from one another (and, as a result of that, they didn’t create much visual impact as a group).  It feels like standing apart is what the suit/shirt/tie (and maybe any outfit) is all about.

So I went home and tried to figure out what to do differently, but solving the problem felt like a catch-22.  To get the pieces to stand apart seems to require increasing the contrast between them.  But increasing contrast seems to violate a fairly basic principle of soft-summer dressing (and my experience confirms the risk).  To top it all off, a lot of the palette is off-limits for work clothes (I’m not stuck in white shirts and black shoes, but I am stuck in dark blue or mid-grey suits and light shirts).

I know it’s not actually impossible, because sometimes I get it right (today’s mid-grey suit, soft white with tiny blue checks shirt, and dusty navy tie feels good though a little boringly monochromatic), but I don’t always know why. The question is how to a get the three basic pieces to stand apart from one another within the confines without violating my seasonal integrity or the tenets of moderately conservative men’s business dress.

About the first outfit Sam describes, we would have to see it, of course. What drifted through my head was that the white of the shirt was too white. Almost every pure white is too white under a Soft Summer face.


Soft Summer Ties Navy Blue



Panel A: Standard navy and charcoal. Formal enough, not black, great with the right white shirt. Tie 1 may be a little too shiny and saturated, risks the shirt white looking dusty or dirty. Tie 2 has a nice play of teal and mauve in the textile’s reflectivity, so effective with this person. Tie 3 is a tone on tone, also great with this person, plus looks like Summer in the shade, as does the person. Tie 5 is a conservative, traditional, regular pattern that won’t twinkle because the blue is muted.

In 12 Season colour analysis, Soft Summer describes a group of natural colouring in which the heat setting of every  colour that makes up this person – your teeth, your silver hair, your sunburn, your windburn, your freckles, your veins, the whites of your eyes, the entire person – contains warm and cool, but mostly cool. The colours are between chalk and charcoal in darkness. The colours are heathered and soft.

Under this face, pure white develops into glow and dominance for our attention the longer we look at it. With a blue stripe, the white might cool off even more and read silvery or alien. Silvery is great on a True Summer whose skin reflects light that way already, but the Soft colouring will dull in relation to moonlight. The relationship is the same as if our jewelry is brighter than us, we look duller by comparison. Alien white is how Winter white looks under Summer faces and how the Summer face looks in return. Picture Viggo Mortensen holding a flashlight under his chin.

Another possibility was the colour of the suit. A suit is a big block that the viewer sees in its entirety. If the blue is getting close to Winter saturation, which some Soft Summer blues certainly do, the tie won’t be able to hold up its magic. Especially so with the blue/white stripe in the shirt. One way for the tie to stand out is to keep the suit and shirt more muted.

Soft Summer has a definite saturation range. It is not nearly as wide as the value (light-dark) and hue (warm-cool) ranges. The sat level is lower than Winter, lower than True Summer, lower than the value and hue settings are. But there is still some movement. We have blue fabrics in the Luxury drapes that are very muted with very little blue pigment. We have others that contain more pigment, at the upper saturation limit for the Season. A Winter palette takes over. When people order their set of Personal Luxury Drapes, they often specify for one of each. (Drapes are only available for analysts until March/April.)


Soft Summer Ties Teals



Panel B: Tie 1 is a gorgeous colour on Soft Summer and a brightness many could balance easily. Ties 2 and 5 have texture. Tie 3 is an outstanding eye colour intensifier. Tie 6 combines gorgeous colours, the right red being exciting everywhere on everybody, in a traditional design that still looks work appropriate. A shirt in the colour of the flowers in 3 or lightest stripe in 6 would be good. Also, wear 6 with a white shirt (red, white, and blue is a good mix on Summers). More comments in the text. 


More ideas:

1. Value contrast (light to dark) is built into the palettes. It defines your lightest to darkest. Within that, wear any mixture you like. If a dusty navy suit and a soft pink shirt feel too contrasting, organize and calm the disparate feeling with a tie in the colour of the suit and shirt both. Men generally wear the highest darkness level of the palettes easily. Canadian Prime Minister Stephen Harper might be a Soft Summer. Darkness is fine.

When Sam says that increasing contrast was unsuccessful for him, not to argue, but I need some convincing because I see too many in this Season dressed too medium in every possible way. Take still pictures of yourself in what you believe works and doesn’t. Hold them side-by-side. Give your eyes a comparison. Over and over, the look that a person in any Season is convinced they cannot do today is their new favourite in 3 months. Summers (and Classics?) are seldom in a hurry to change their mind or force the boundaries.

2. Colour contrast (how far apart are the colours on the colour circle) is among Soft Summer’s special unlimited gifts. Because the colours are quiet, the more are worn together, the happier my eyes get. Even large blocks of near-complements are fine, like a blue chino and a creamy-dusty yellow polo or an antique turquoise shirt and maroon sweater.

The more colour activity, the busier the look, the more heat we feel from activity, meaning warm Seasons do this better. The hush in Soft Summer adapts the overall to look strong, interesting, creative, and not hectic. Make clothing items pop, as in a mutually energizing effect, by colour contrast. If the shirt is blue, wear a bit of yellow in a blue tie. It’s eye catching. Your yellow is too quiet to cause any stir and easy to find in ties.

3. Saturation in Soft Summer colours may be stronger than we think. I have yet to meet one who dresses too brightly after they know. The Corporate colour palettes from True Colour Australia are worth owning.


Soft Summer Ties Effects



Panel C: Soft Summer Effects.

Tie 1: In the print, we see the rope, the knots, the grid, the spur. In the understated Summer way, they say, “I work in an office but I’d rather be on a boat or a horse.” If I were the date or the interviewer, I’d think, “He’s reliable but not a total square.” (thrill to me because I am) He knows his physical side, nice for the Yinner Summer man where boldness doesn’t read as real. We are used to women pretending with their appearance. Men look vain because we see through it right away anyhow, on everybody.  A man’s appearance is better very up front, when it says, “Let’s get to it.” Many great neutral colours to pick up in shirts.

Tie 2: The yellow rep tie. That could be great on Soft Summer. Soft Summer or Soft Autumn yellow? Picturing it with soft berry lips or terracotta, I pick the berry. I’m wondering what colour shirt. Soft navy could be very cool on the more Yang types.

Tie 3: The texture looks like rock and bark, both great associations on Soft Summer. Still a mauve gray, not Winter stainless steel or battleship. Good tone on tone early feelings of plaid. Any Autumn influenced colouring considers 3D depth very important to looking defined. The near and far of plaid is good but Autumn is but slight in this colouring. The Summer influences are still stronger. Nice with a pink or mauve shirt.

Tie 4: Smoked purple is so native to the person that it blends right in and almost disappears. Good colour for adding a small element of shine.

Tie 5: More texture with nice colours. Like pebbles, bark, rope, braid, all good in Soft Summer colours. Natural, not pixellated.

Tie 6: Wear that colour. Wear it a lot. We like looking at you in it.

4. Red is instant excitement because it picks up blood colours in the face. Humans are wired to react. The brown-reds of Soft Summer are effective in understated wardrobes. They read as the quiet elegant burgundies of a high end office, almost flesh tones.


Soft Summer Ties Reds



Panel D:  Ties 1 and 5 show cooler and warmer red options. Tie 2 is one of Soft Summer’s beautiful pinks, always elegant. As ever with a man wearing pink, even one single dot, everybody in the room saw it.  Can’t speak for the men but the women like it. Pink denotes power without aggression, which exerts a magnetic effect on women. Tie 3 shows the excitement of red in a colour balanced presentation so the red does not read as bold or in your face, which Summer Man never is. His Winter brother can have more to prove, especially if Yang in essence, and be more satisfied by the taste of revenge (his Winter sister too). He might as well wear blood red. It speaks the truth of him.

5. Know your whites, beiges, taupes, and grays. Soft Summer can wear chalk, vintage white, dust, and shadow. Beiges and taupes are united by a slight pink undertone. Since the shirt must be light, try more neutral tones as the picture below. Women’s blouses were sampled because Polyvore offers more choice. Get to know your yellow. It looks good. The background colours for Tie 1 in panel C is good, could even go a touch greener.

In Panel E below, Top 1 has a pink tinge on my screen that will pull it into Summer looks. Tops 2 and 7 are a bit lighter than the palette, but the muting and neutrality will participate well in the wardrobe, and they will be seen with the tie and jacket, not as a single large block. Top 3 is greenish, thinking about being Soft Autumn, could work well for the warm Soft Summers. Summer wants a pink-mauve look to its neutrals, as we see in Tops 5 and 10.  Tops 1, 4, and 9 are whites. About the colour of Top 6, if I have neglected to mention this, own it and put it near your face every chance you get.


Soft Summer Neutrals



6. Shine in the tie. A pearly or brushed metallic effect, not gleaming satin. Ties 4 and 5 in Panel C, where 4 is an easy, easy colour that almost needs the shine to have impact, so native is it to the person. Tie 5 dilutes the gleam effect with texture. Gray is another good neutral for shine, similar to women’s eyeshadow.

7. Use your cool to warm range and choose items from each side. Soft Summer people often look warmer than they are. Your warms and cools can bounce off each other in most interesting ways, just as they do in you. The purple silver smoke undertone will pull the whole thing together.

8. Pick up the tie in a pocket square.

9. Add texture as shown in panels B and C. Soft Summer colouring has more muscle than the other Summer groups as Autumn earthiness appears. Colours are more solid. Texture is a nice way to communicate this man’s strength and add variety to a monochromatic look.


Sam’s question had a part b):

Many ties I’m drawn to feature small scale patterns, made up of multiple, highly saturated colors that, from afar, combine to read as more muted.  Should I consider these colors as they appear from afar, or should I avoid them because something about the strong colors persists even as they combine to read as more muted.  I’ve tried to figure this out on my own, but I can’t seem to look with objective eyes once I know the tie is made of strong colors–I see it as too strong even though perhaps it’s not.

Go with the overall effect from a social distance, not the individual colours. Perhaps the ties in panels F and G are as big a print element as could fuse in the distance. In prints, colours definitely affect one another by the same simultaneous contrast that they do in faces and everywhere else.


Soft Summer Ties Contrast 1



Panel F: Some of the colours above, the navy background for instance, may be very pigmented. The overall picture is quieter. To me, this is a superb tie. The play of pink, blue, and purple say Summer to me. Your yellow, like your pink, is sophisticated and calm. This might not be it exactly but it’s close enough. It would work with many shirts. Too much is good about this item to avoid it. Seems too blended for a Winter man’s face.


Soft Summer Ties Contrast 2



Panel G: This is a purchase I would think twice about. The colours settle from a distance but not enough. The navy looks near black. The print looks graphic, digitized, like little TV sets. Maybe on a dark Dramatic Soft Summer, but I’d leave this item to the Winters. Of the 2 ties above, which would be most effective on a Winter like Robert Downey Jr?


My thanks to Sam for stepping forward and sending questions we can all learn from.

Rachel (the line and archetype expert, linked here to her new website in case anyone is having trouble finding her) and I have added Well Dressed Men, a Pinterest board for Sam and all the other men (and women) who are evolved and progressive enough to understand their clothing as an investment in themselves. Feel free to ask in the comments if there are examples of something you would like to see.



The Story We Tell

Could be

The Story We Tell Others


The Story We Tell Ourselves.

Makes no difference. They are one and the same.

Don’t take the content of these videos too seriously. The words are nearly the same. I am trying to teach myself about appearing on video. You may be subjected to a lot of these.

Love this medium that is so fast and surprisingly comfortable, but I might need a coach. I’m also teaching myself iMovie this winter. The 2014 version seems fairly easy and good. I just thought I would post the results for fun and so you can see how long my hair is getting. On your advice, I am giving up hair dye for awhile to see how that goes, which will be fun to watch too.

I am in the emptied hotel meeting room on the day after an analyst training course has completed. I am so happy for the people who live near Winnipeg, Manitoba. You will soon have access to our most incredible service with a brilliant analyst. Expect the business to open in March or April. You will see her introduced here. 

For the content, I am pretending to be on Dragon’s Den. I believe they call it Shark Tank in the US. I think about what I would say if a 3 minute video were playing in the women’s clothing section at Nordstrom.

Oh, yes, I do know that I should smile more.

Finding Objectivity

Without it, how much can we really know about anything?

Safe means could-be-anybody. No energy jumps, no surprise is felt, no feeling of any sort registers. A clothing dial tone.  The person is often much more than their clothes so we totally ignore the clothes. Why spend money for others to feel that way?

The opposite happens all the time, though. A man or woman has drabbed and/or aged their impression so well in their safe clothing that the analyst does a triple take when they are surrounded by gray and the lamps go on. Their appearance is capable of so much more.

Normal is harder to define because of the amount of variability. My normal is not yours. To me, normal means continuity between the person and the clothes. The clothing is a rational extension of the person. Does it sound boring? The QRS complex on my ECG, those little blips every few seconds,  is not boring, It is a long, long way from the flat line. Normal is extraordinary in a good way.

Extraordinary in the other way is the Soft Autumn woman wearing Spring’s heat. The green glows under her chin. The viewer does not see the fun and energy the same blouse expresses on a Spring. She sees a Kryptonite effect under the face and an odd shine on the skin that feels wet or greasy. That looks nervous or unhealthy. Why would anyone spend her money to look like that?

Shopping is not really about acquisition. It is how we exercise our communication skills.

Compliments? Hopeless. The best compliment is when nobody says a word. That is when we look most normal, when what we wear seems as if it has always been there and belongs to us. What is extra confusing is that safe and normal get you the same silence.

When a colour is off, it hits people in the eye. A response of some sort seems required. Or demanded. After 10 years of “I love your highlights.” why wouldn’t we decide that we must be great blondes? Everyone loves it so much. The truth is that either we are altogether too extraordinary as blonde in that the face disappeared and all they can see is the hair, or the viewer filtered the comment through their personal feelings about blonde hair.

Still pictures and videos are an excellent exercise in objectivity, especially when you have two to compare. You can get a pretty good look at yourself. Give you or a friend two choices, not one and not three. Ask a specific question instead of “Where do I look good?”, which you and your friend both hear as “Where do I look like you’re used to seeing me?”

Instead, ask “Where are my eyes most sparkling?” or “Which is the younger face?” Get all the extra data off the table. Your colour analyst knows what to do with it. Your friend does not.

For a new colour analyst, one of the most important abilities is to just say what they see, one detail at a time. Pattern recognizers that humans are, we try to get every observation to fit into a pattern (Season) far, far too soon. Being crystal clear about what each and every feature is doing when the colour changes, without the slightest concern for whether the pattern makes sense together or not,  is a skill to hone.

During training, after a comparison, we ask whether a Season can be disqualified. Any pause or need to explain the decision means they both stay in play. Experience strengthens the faith that it comes together in the end.

For those who see a lot of detail, managing all the incoming data can be a lot to interpret in the beginning. With this level of visual acuity and mental organization, the analyst just needs to compartmentalize, which is what the framework of training provides. 

Our new analyst from Winnipeg knew that she was having trouble seeing the lips in certain colours. We had to distinguish when that was due to their colour being too beige and smearing into surrounding skin and when it was because of the distraction of much more darkly carved lines around the mouth.

To decide, it helps to keep backing up and moving forward, as artists do with paintings. Keep moving from big picture to small and back again. The lines between the brows will be darker too. Would you hire or date someone whose visual message is “I’m at the end of my rope.”?

Like with our health and our money, to get clear, sometimes you just gotta hire somebody who measures something with instruments that work.

Change Often

Was it Churchill who said,

To improve is to change. To be perfect is to change often.

It really is so easy to look so much better. More Winters should live by this. Either they drive themselves and everyone else to the brink with arguing or else they won’t start anything, all in the name of their imagined perfect.  I’m no better. I can sit like a plug in my own path with the best of them. A Summer might tie her hands, and everyone else’s, behind their back by questioning endlessly.

I wonder if the warmer colourings have an easier time. The activity level is usually higher to begin with. She spends more time shifting around and less sitting in her own way. Her life is already about changing scenery. Spring has the lightness of being and easy humour to change easily, sometimes erratically. Her personality can be like a pinball game of the mind.

Autumn? Her head is out in Autumn Land, listening to her drum, going about her business, not noticing everyone else too much. She absorbs what she wants of the outside world with her naturally even keel, and goes off to her line dancing class with her cookbook in her bag so she can find a recipe on the bus because her friend is coming over right after and they’re baking bread for the homeless shelter… It surprises her to find out that everyone else is not doing the same.

In these videos, the woman in white has no idea what Season that sweater harmonizes with, but she knew enough not to buy a blued white. As you can see, she is very big on chains. Also buckles. She would wear a watch on both wrists, like separated handcuffs. Neat and controlled feels more like her skin than free and easy does.  She feels supported by her clothing and her presentation. She feels calm and confident when she shakes hands. Believe me when I tell you that five years ago, this was not so.

The woman in fleece will be cold till April and has her priorities. She can really only care about her appearance to a point, perhaps because she’s Canadian, ay? Of the 40 warm up jackets she could have chosen, she bought the one that defines her and defines itself best when she wears it.

You can do this. The formula works for everybody. We are all buying all the time. Might as well make the better choices.


I added some pins to the Body Types board. Claire Danes has an acting talent, a beauty of face, and a physical presence that most people may find overwhelming. I think she might too. As do so many women, she dims that power with Conventional Femininity, like a soap actress.

Why do we make ourselves less? Fear of failing? Fear of confrontation? Why do we relinquish so much decision making to media and men?

Where does our common sense go? Where did mine go? Why did I have yellow hair for 20 years before something came along that woke me up?

Imagine me quoting Gaga ! We are on the right track, baby. We were born to be brave.

P.S.: Keep an eye on the Colour Travels schedule in the left column. Dates and locations are added often.



Best Makeup Colours Light Summer


We’ve just come back from a stellar analyst meeting. The part of the program that most everyone requested again next year was asking a woman to role play. We invited Sandra to join us for an afternoon. She had been analyzed as a *Light Spring. She understands the palette but cannot get the look to work.

The Sandras are among my favourite clients. They are done trying things over and over, spending random money in random ways. They reach a place of accepting that they will not figure out their best appearance on their own, and admitting that nothing they tried themselves convinced them. Now, we are ready to get somewhere.

Nobody is a carbon copy of anyone else inside a Season. It may take a few weeks or second visit to put every piece in place.  A returning client who can only say, “I don’t look right. I can’t get it to work.” will not become a constructive conversation. We asked Sandra to bring fashion images of the look she would like to achieve. I expected Versace from our conversation and got Burberry and Hugo Boss. Bring pictures of what you envision.

Together, the analysts did a thorough repeat PCA. We arrived at Light Spring once again, the cool side. It is important for anyone who sits on the warmer or cooler side of Season XY to remember that they are still Season XY. The Sci\ART palettes are the 12 Blueprints drapes come to life. If you are drapes XY in your analysis, then it follows that you are palette XY. Stay within its heat parameters.

How can you tell when you shop? Suppose you are one of the cool-neutral Seasons who does not want to go too warm, how about Soft Summer? Lay the open Soft Summer fan on your garment where you are deciding between Soft Summer or Soft Autumn. Look at the cooler lipstick colours and cooler neutral colours in the palette. If the garment is too warm, those colours will clash.

For a Light Summer who wants to avoid Light Spring colour so as not to turn yellow, she will lay the open Light Summer fan on a garment. If the cooler reds and blue greys make attractive combinations and feel good together, she will probably be fine. If the cool reds look cold or severe, or remind you of bruises, or the blued grays look harsh, dark, and not an ounce of fun,  while the garment seems weak or too yellow, that is exactly how it will feel subconsciously to others seeing you wearing it. That is how a Light Summer fan looks on a Light Spring colour. If you were the drapes, then you are the fan, so when we say you can wear the warmer colours, it is still best to treat that as Light Summer’s warmer colours.


Eyes Ahead

So many concepts in PCA are from the 4 Seasons approach.

The idea that True Winter is dark and very saturated, for instance. It is neither extreme on a 12 Season scale. Back when there were only 4, yes, then it was the most of each. When Kathryn Kalisz brought professional pigment standardization and Munsell classification to Personal Colour Analysis, that concept needed modifying.

When Kathryn brought the Neutral Seasons into a sensible order with defined boundaries, she created 12 stand-alone voices. The language of each Season is quite pure. They can drift together, certainly, with similar heat and the same priority in colour dimensions (I hesitate to say TMIT), but they are not the same. Light Summer has a lot more colour muscle than I used to believe.

To keep in mind as you learn about your colouring:

  1. Don’t spin your wheels in the Season. The analyst can help you see yourself in the colours of any palette. With the analyst group, we created colour combinations to add sophisticated beauty and refinement to Sandra’s Light Spring palette. Every Season and every Archetype can wear every palette. Everyone can find colour combinations that are interesting and look expensive, a term that I use because the opposite is the only other choice. Whatever the Season, certain colours will only ever look tacky, even in cashmere or silk, while others will look rich even if they are yellow and lime green.
  1. Don’t spin your wheels in the stereotype. That stereotype is usually better embodied by one of the Neutrals than the True Season. Even if it were in the True Season, the person who fits it perfectly is the unicorn in the herd. There are too many variables. When you read my book or any other, at least allow a big burp of doubt if you don’t feel you fit in with the Season whatever-I-wrote personality.  The typecast of Bright Winter as rare…good grief…in the past, their rarity depended on their clear eyes…Bright Winter eyes would read as plenty clear if they were transplanted into any other face.
  1. Don’t spin your wheels in the words. Dark Seasons are not necessarily dark to look at. For some reason, this one is particularly hard to dislodge, whether it be Dark, Light, Soft, or Bright. Dark Autumn is not especially dark at all, at least in Caucasians. Once ethnicity gets into it, they can darken fast, as JLo or Halle Berry, and deeper from there. Same on the Spring side, an Asian Bright Spring may have much more apparent black in the eyes and hair than a Caucasian usually would.

While many have the tawny and coppered skin of Autumn, lots of Dark Autumns have pinker skin, regardless of how warm or cool or light or dark the eye colours, or how close they are to the neighbour Seasons. Thank you to *Hannah for showing me Bobbi Brown Beauty Balm SPF 35 in Light as a beautiful foundation option for a group who can be challenged to find this product. Our runner up, near identical colour on her skin at least, was Lauder Double Wear Light SPF 10 in Intensity 1.0.

  1. Be careful of well-meaning friends. They can see that the outcome is not perfect. They know you feel frustrated about something. They want to offer helpful suggestions.  And they lack enough knowledge, application, and flexibility of the colour system to come up with the answer. The usual advice is that the Season is incorrect. That can be the case, but most often not. The adjustment is either in the harmonizing of the palette or the correction of some other thing, maybe hair colour, maybe makeup. Very often, the expectations of the makeup are the roadblock. Women may feel that their best lipstick range is surprisingly narrow. Yup, true for most of us. The Bright Winter who has not fully understood the makeup possibilities will try to back away from the figure skater image in her head and email that she might be a Bright or True Spring after all, as her friend believes. So now you have a dark and imperial 30 year old with a flat, wide, boring face. Friend finds relief with the return of the face she is used to and Client being less agitated. Friend never saw the potential in the face with better choices. Meanwhile, Bright Winter Client is being reduced by what looks on her like a Disney costume instead of defined and elevated by her apparel. Call your analyst back first.
  1. The True Seasons can drift warm or cool also. I recall two PCAs in which I was certain that we were sailing smoothly towards True Summer, only to have the wind turn at the final drapes. Light Summer, True Summer, Light Summer, True, back and forth, compare the Luxury Drapes, tiring for everybody. Excellent though. This woman takes home two palettes and receives an email detailing how she will use them.
  1. Every bad thing is a good thing in disguise. Sandra knows the why of her Light Spring colouring. Soft Autumn gave her skin the heat her native colours want, plus muting, which her skin also loves. Hazy (Summer) agrees with certain parts of her. Juicy (Spring) looks pretty but has a definite upper limit. Light Summer colouring needs some dark if they want eyes, a nose, and a chin. Don’t think in terms of Season labels. They are a starting point to identify the mountains of stuff that you can forget about once and for all. Shopping finally opens up after that. Many of my own clothes could swatch into True Winter if I want something to wear, but I can tell you which 10 Seasons they never swatch into. Sandra said to me after, “I am ready now.” Best thing I can hear.



As Terry says, people can be any Season when they walk in. When they leave, they should look like what they are. Therein lies the entire point of it all, to look like what you are.

Seeing a Season in a presentation that I have never experienced before is a thrill for me. Julie has Italian parents. She looks like a mix between Denise Richards in her facial geometry and Mena Suvari in the complexion and overseas quality. Her skin appears golden and olive at once, like a blonde Mediterranean. Eyes contain a lot of Summer gray, with generous amounts of gold, brown, and green. Hair is medium-dark ash brown. Brows are light-medium brown with a touch of apricot. She is so strongly Summer that she figured that out on her own. The drapes agreed.

The PCA progressed much as a Light Summer does. She is easily centered in the Season, turning yellow instantly, in fact faster than usual, in Light Spring. This On/Off sensitivity to one degree of excessive heat is common of all colouring that can have a yellow overtone. Soft Summer and Dark Winter are much this way.

Listen now: People who appear yellow are usually cooler. Think about this. When we look at someone, all we see are overtones. Unless we have Xray vision to see under the surface skin or access to a calibrated comparison system, nobody can eyeball a colour anywhere, especially in a human being, and know what it is. Nobody, IMO.

Truly warm people do not tend to get those false yellow overtones. Why would they? They are the ones who do not turn yellow in too-warm colour. Only the cool people do that. Warm people can be yellow or tawny as their real colouring, but they do not look overly yellow. They look normal, just as normal as Bright Winter eyes look normal only in a Bright Winter face.

How do you tell these false and true yellow people apart?

Back to Answer A: Acquire Xray vision or know how to use a calibrated comparison under controlled lighting. Why about the lighting? Because light determines what colours come back out. No light in, no colours out. Blue light in, blue colours out. Yellow in, yellow out. Full spectrum in, full spectrum out. So simple, so obvious really.

This existence of an olive type skin in a Summer colour base was new and fantastic to me. Foundation needed to be deeper. As happens to women far too often, she had been to the cosmetics counter, someone saw the yellow, and ‘matched’ her to a too warm, too orange, too dark foundation. Now, not only is the skin too yellow from the hair and clothing, the foundation on top is giving a self-tanner effect to the face but not the neck.  Not only can nobody look at skin and know, I enjoy that the sales folks get miffed when such a thing is suggested.

We liked Marc Jacobs 38 Beige Deep best of our three top choices. We tried about 12 before settling on these. There is no reason to believe that foundation can be matched by Season, because the final colour is influenced by the overtone, the undertone, the idiosyncrasies of the face, the pH of the skin, and the list goes on for an hour. Eyeliner, blush, and lisptick still came from the Light Summer rec’s but towards the darker side.

On Julie, lip colours (not the other makeup) changed drastically from the tube/swatch on white paper to her face, far more than I have seen. Raspberry and plum-pinks that seemed so elegant became lighter, opaque, crayon colours. Our final adult, elegant, balancing and defining lip was a mix of Clinique Very Currant and Paula’s Choice gloss in Festive Rose (this colour comes in a promo pack of 4 glosses every now and again). She will find many others on her list, but knows to never buy one tube without trying it first unless she is ok with burning that money. This might apply to you too. The products below must be tried, not taken at face value from online lists.

The blonde highlight that works well next to white skin will be too pale. On the Know Your Best Hair Colour board at Pinterest, I pinned a Mena Suvari picture of a hair colour that would work with this complexion, unite the eyebrows with the hair and skin, and still qualify as Spring influenced (beige and yellow) rather than Autumn (brown and toffee). I think it’s gorgeous.


Light Summer Makeup

In trying to find new colours or different lines for this series of posts, Light Summer took more work.

Autumn abounds at the cosmetics counter. I can think of makeup lines where 8 of the 12 blush colours are for Autumn! And yet they are good at colouring foundation. How is that customer awareness disparity possible? Because when we are not sure what to buy, we see those flesh tones and think, “How far off could they be?” Well, I will tell you, they are not good. Autumn is the worst Season on many people with Spring influence.

I want excitement in lips and cheeks. I cannot tell you how I look forward to the day when fashion swings around again, once they have sold us all the gray lips and cheeks they possibly can. More choice in reds will allow us to appear as it we have blood. Blood is alive and exciting.

The trick with Light Summer is keeping things fresh and clean in a delicate way. So many that I try to like (Armani Lip Maestro 503) take over with the amount of red pigment. They can be applied lightly, blotted, and gloss added. With today’s stains, they might even last a few hours. Benefit Benetint is a grand choice. For these articles, I am looking for colours that can be applied liberally, even by makeup novices.

Light Summer manages some darkness as do all Summers. Some features might even improve in black DEPENDING on the other colour being compared. Many people of this colouring love black for how their light hair looks against it. The problem is that black gives the face a 5 o’clock shadow, the total look feels cookie-cutter-news-anchorwoman, and her face fades back. She often tries to fix this with makeup effects that look more bizarre than elegant. Cool dark grays in clothing, feather colours, are so much better. Everyone relaxes.

As with Light Spring, I see little use for darker contouring eyeshadows. A little bit darker in the pan or on another face is a whole lot darker on this person. Even medium colours look plenty dark. To contour the eye, packing the medium darkness eyeshadows a little thicker works just fine. Eyeliner also need not be dark. This eye will define with even a faint gray line. That said, women like Julie will wear a darker gray than the middle of the Season.

Smoke and drama are out of place unless the desired effect is to have people staring at, and trying to ignore, makeup. Using their own colours, anyone could do a smoky eye shadow design but the fierce effect reads too tough, which the Light Summer woman seldom is in any persuasive way. What I find more beautiful and far more interesting is to use coloured accents at the outer part of the upper lid. I do not say this lightly. Makeup that reads as obviously blue, green, or purple can sabotage a woman’s ability to get taken seriously. If you want to wear these colours, be sure to know your Season version of them. They stick out on a face a thousand times more than grays.


Colours are dusty. On my screen, they are dustier than they were in Photoshop. Welcome to software. You may need to angle your screen up and down to see brighter versions.

Being a Light Season means lighter makeup than other Seasons. Light is not near-white in this context. Too pale is draining and chalky. Lips that are about the colour of skin are appropriate and attractive on young girls. Too much darkness or opacity of product on teenagers (as so many models are, which is why those  media images are appealing) looks like playing in Mom’s makeup bag, meaning they will be taken less seriously, not something I would promote for a woman of any age. I have never seen a human being who looks better with no lips. Teenagers with pale gloss still have lips. We 50 year olds do not. Aim for the middle of the swatch book to the dark end depending on the woman and the occasion. Mature women have more presence and more power in the face. Their makeup needs the same if it is to do what it could.

How to swatch makeup to Season was described in the Light Spring article.


Some pictures will post on the Makeup for Your Natural Colouring board at Pinterest in the next day or so.



Blush: Inglot 362. Bobbi Brown Pretty Pink.

Eyeliner: Urban Decay Mushroom. UD Ether is a gray that was nice with the palette, with a purple sparkle to used carefully, perhaps for evening. Marc Jacobs Shoshanna is a pretty accent colour that could work for any Summer, blue-greens being so well accepted by these colouring types.

Eyeshadow: Dolce&Gabbana Romance. Urban Decay SWF and Bust. We spent a long time at the Inglot counter at Macy’s, found 465 and 117R as lovely choices, with 420 and 459 as darker choices. Bobbi Brown Slate powder and pot paint, Cool Ivory, Shell, Pink Chiffon.

Lipstick: D&G Princess. Benefit Rouge Shine 23 is a nice day colour, Tarte Elite being up at the intense end of a similar colour (a little weak on a Bright Winter, where Tarte Dreamy has more presence but she could wear either. Comfort level matters.) Marc Jacobs Have We Met is a pretty lipstick; I wanted to add Roll the Dice here but it would be the only thing people see. Inglot 72. Bobbi Brown gloss #11. Thanks to Rachel for showing me Laura Mercier Fresh Raspberry, possibly an ultimate red for Light Summer colouring. Bare Minerals Call the Shots is good, and I wanted to like Risk it All for the freshness but it’s too plastic/candy next to this palette/face. Plastic lips are only slightly better than gray ones, looking fake and dead in that order. Worn on a different colouring, plastic can look normal. If a lipstick is gray enough to look dead on a Light Summer, it has little hope of coming to life.

Bronzer: It can be pretty here. I always add some unless the woman is near True Summer. The colouring does well with a certain darkness to define bones, where a light peach-beige-gold colour is plenty to achieve the effect. The colour is like a new penny but calmed down, say, halfway between new penny and white gold. Cover f/x Gold is good. Others I love are Hourglass Luminous Light and Radiant Light. Dior Sunlight can be good, as could Smashbox Sunkissed Matte, these being dark enough. The idea here is to use it sparingly, to create gentle apricot golden warmth and gentle contours. A light application still allows the muted native skin to blend in, creating a lovely outdoor glow without noticeable heat.



Does a 12 Blueprints PCA Ignore Eye Colour?

Speaking for 12 Blueprints

and colleagues at  Your Natural Design, not for the wider Sci\ART community, because the fact is that I do not know how those colleagues work and would not presume to speak for them.

Before the video, I have to be really clear about something. You already know this if you spend time in the PCA community.

What I, Terry, and our group of analysts do should not be expected by the public to be equal or even close to other Sci\ART analysts. Some off us will share most of our approach, some very little or none. I cannot say which is which. I appreciate the confusion for the consumer. It is nobody’s fault, simply the present differing from the past.

I resist the idea that we have a new method because we do not. At this time, the, let us call it the 12Blueprints method, aligns more closely to Kathryn’s (meaning Kathryn Kalisz, founder of Sci\ART) original intentions than any other I know, have read about, or seen in action. Terry was present for five of Kathryn’s training workshops, was the first certified trainer, and a very close personal friend. We consult Kathryn’s teachings continually so as not to deviate from the original technique.

Why do I keep bringing Kathryn’s work into this? We lost her back in 2010. Because she created a system in which my eye can go from the palette to the person and back again and say, These are the same. These things match.

Then she gave me a way to identify those matches that works. And I can send a woman home with the tools and knowledge to begin building a 1000 colour wardrobe of pieces that also are the same. Like a musical scale, from beginning to end, from the philosophy to a woman shopping, the pitch is the same. You can follow the notes all the way up and all the way back down.

We will continue to innovate the tools, analyst education, and client support. If an adjustment to the method appears necessary, it would surely be considered but time and experience are not supporting that likelihood. So far, the only changes have been in exclusive accuracy of each drape colour, more drape colours, detailing of the script, and structuring of the teaching approach.

Moving forward, and for about several years gone by, any of the content on this site can only speak for our group of analysts. Nobody else is wrong, but they would agree that my words do not speak for them.

Finally, about the 12 Blueprints group. In the second video, I describe the aspects of your appearance (and wallet) that I can help with, clothes, hair colour, cosmetics. Both clients and analysts need to be clear about what information they want or offer. We are not a franchise. Each of us has different interests and strengths.

You want image analysis/style consultation/personal shopping, you call Rachel or Leslie. If you’re tired of Big Box Retail and are looking for boutique clothes and jewelry, connect with Shahna McNally. Perfume? Sharon or Ksenia will help you more than I ever could. A baby wrap wearer wants to speak with Cate in Missouri. Some travel. Several are European, where the cosmetics landscape looks very different. You get the point. Be an informed consumer and a clear service provider.

On to the topic.

Eye and Hair Colour

Of coure we don’t ignore eye colour. It where the health, the magic, the essence, the whole being is condensed. And no matter what you do to the rest of you, your eye colour will always be seen next to your clothes. The result should be agreeable, if not distract people in the best sense for a moment when you meet.

But eyes are like skin. The colour in itself doesn’t matter. All ethnicities appear in all Seasons, some more often than others. If you’re not of this belief, we will not find a lot of common ground. PCA is done by the reaction of simultaneous contrast. That means what happens when colours are put side by side in our visual system. That means, it’s not about the skin or eye colour but rather how they react.

Hair colour? You can take someone back 10 years with hair alone. And of course it matters to final presentation, good heavens. It is simply just not required for an accurate analysis. The skin tells you all you need to know once you know what to look for. Hair and eyes will follow right along if you believe that humans are holistically harmonized, as I do.


A Value Moment

Contact info for Leslie and Rachel can be found in the Analyst Directories on this site and at YND, linked at the top. My thanks to them for the shopping time that found the clothing and jewelry I wear in these videos.

Always happy to hear your thoughts. I accept all critique as constructive even if it wasn’t intended that way : )




Colour Analyst Conference 2014 Pictures

Each one of us came home a better colour analyst, the teachers as much as the students.


L to R: Terry, seated (Michigan), Cori Johnson (Seattle), Courtenay Gibson (Mass.), Shahna McNally (Edmonton), Anette Henriksen (Denmark), Jorunn Hernes (Norway), Gabi Pusztai (London), Ksenia Zvyagina (Moscow).

An atmosphere of everyone teaching everyone all the time is where I function best. As I looked around the room, I marveled at how this had come to happen. Here was a group of women, each one remarkable and gifted, fully committed to learning and uplifting one another. The spirit of sharing was so strong that I confess to moments of wanting to somehow hold the group frozen as it was right then. Of course, in a group so curious and open to new ideas, there will always be space to embrace new members. I believe in progress and that each of us can improve, and together help our industry to be better. That we provide a service that can change people’s lives, for our clients and for ourselves as well, was abundantly clear.


Can you tell that we worked hard for three days? I’d like to tell you that it was all fun and games, but not likely with these two organizing things.




Christine Scaman (Ontario, Canada)



Terry Wildfong (Michigan, USA)

Terry is at

Without the generosity of our hostess, Leslie Chatzinoff, this event might never have happened. Leslie is an image analyst and consultant as well as a colour analyst. She is actually able to assemble and email you an entire wardrobe that links straight to the source sites.


L to R: Anette Henriksen, Leslie Chatzinoff.

Anette’s email is

Leslie is at www.


Sorting out the lunch order, hardest part of the day. The look on Leslie’s face says it all.


When I first discovered the color analysis community, I was thrilled to find that the prevailing atmosphere was one of kindness and collaboration. That attitude was abundantly clear at the conference. As analysts, we all have different strengths, different backgrounds, and different methods of getting from Point A to Point B, but we’re all committed to helping one another grow. The positive energy in the room was palpable.

Cate Linden is the link to the site, Cate Linden Chromatics


L to R: Heather Noakes (California), Cate Linden (Kentucky). Both analysts have travel schedules posted in the right column.

It is fabulous to see that we as analysts so see things differently some times, but are able to explain why, and respectfully disagree.

I am also thinking it is useful to explore, like we did in some of the many conversations going on during the meeting, that there are cultural differences, and personal differences, that influences how a person’s colour tone is seen and expressed, and also how a person’s archetype is expressed. We could probably have explored this even further, it is fascinating!

The amount of knowledge, skill, respect, and communication skills gathered at this meeting was enormous. I feel awestruck at the privelege of being part of this group of colleagues.

Jorunn Hernes


Jorunn Hernes (Norway), with Sharon Forsythe (travels throughout Texas, schedule in the right column) to her left, and Heather in the background.


As for my impressions, they are very positive. I consider this a refresher course and a chance to see models of those seasons that I rarely see in real life. *Helen was especially interesting to see draped. It was a great learning experience and an opportunity to verify that we are all on the same page. I’m taking away a sense of companionship and a tightly woven international community of consultants that are truly the best.

Ksenia (Moscow)


L to R: Ksenia, Anette, Heather.

Contact Ksenia by email at


I thoroughly enjoyed my time in NYC. Meeting other analysts from around the world was truly a privilege. It’s exciting to be creating strong professional bonds in a field where there has been little before. I learned so much from the insights and perspectives of others. Seeing new ways to look at and approach my own routine was enlightening and will also beneficial for clients. I look forward to more collaboration in the coming years.

Heather Noakes

Connect with Heather at


I really wanted confirmation from the analyst meeting that I have been truly interpreting color effects correctly and placing people in their correct seasons since the training. I was extremely relieved and excited to not only find that I placed fabric and people in the same color space as other analysts, but that the other analysts were almost always in agreement with each other, and with you and Terry, when interpreting the different draping comparisons.

During our initial training, I feel like I learned the black and white rules of Sci\ART color analysis and that it was during the analyst meeting that I learned how the system can be more fluid as well. Thankfully, most of my clients have not been so close to their neighboring seasons as our models were at the analyst meeting. It was extremely helpful for me to see a model at our meeting who has red hair. I have to admit that when I saw *Helen, I did think she would be a Spring. She was clearly best in Bright Winter.

It was also invaluable to meet the other analysts in person. What a genuinely inspired, passionate, and very supportive group of ladies.

Cori Johnson




I think it probably goes without saying, but having the ability to meet our colleagues makes a massive difference (at least to me) to our ability to be aligned as a group and function as a team. I feel the only way to get our group to be the ultimate name in color analysis is to support each other and not compete with one another. When you know someone, it’s a lot easier to say “you know what, my colleague is closer to you and she is fabulous” to a potential client.

On an individual note, I think it just helps to really know if the others see what you see. You don’t really know when you go home from training if you are there by yourself draping a bunch of bright winters who are in fact soft summers or something similarly off the mark. Draping someone with the other analysts provides some steady ground to stand on in terms of “where am I vs every other analyst”.

Rachel Nachmias

Rachel can be reached by email at


Gabriella Pusztai (London, England) and Rachel (Philadelphia)

Email Gabi at


The silent drapings were fantastic with all the analysts being able to submit their impressions anonymously. When our comments were read aloud, it was encouraging to hear that we had all essentially arrived at the same conclusions. This intensified my commitment to our Sci\ART-based PCA system. Aso: the Luxury Drapes truly are the Eighth Wonder of the World; I’m very thankful to have a set!

Sharon Forsythe


L to R: Sharon, Jorunn, Anette, Cori.


This was everything i dreamed it could be. What a joy, and so much LEARNING for me.

One major take-home message for me (besides that I could not admire my colleagues more!):  Once we are down to the final two seasons, typically neighbouring ones, never take that contest for granted, regardless of where earlier stages of the analysis may have seemed to be pointing. So critical to look carefully at all the measures (ie skin texture; temperature; eye colour; face architecture; energy of drape & face; overall “compellingness”…).

And for those clients at all close to the border, looking at both sets of luxury drapes seems incredibly beneficial:  not only in making a final season call that satisfies both you and the client, but also for finding where there may be  magnificence in the other season…the client is richer for it!

Lisa Kelly

Reach Lisa by email at


Lisa Kelly (Ottawa) and Anette.


Two new faces whom you will meet here soon.


Courtnenay Gibson (Mass., USA) with Rachel.



Shahna McNally (Edmonton, Alberta)


This picture, because a colour analyst is only ever as good as her drapes.




More because they are all just so lovely.








The women above are the same as every woman reading here in that they are finding themselves in colours and lines. Even for us, seeing it on ourselves is not nearly as easy as on others. As businesswomen in any field, indeed this is true of every person, we know that our clothes speak volumes in telling others who we are.

See the earrings Ksenia is wearing in the picture below? We were at the huge Macy’s on 33rd. As she was bringing them near her head, the magic was happening when they were still a foot away.


To help you know who you will meet when you hire them to analyze your colouring one day, I thought I’d show you in clothing what it feels like to be around them. Some of them may not agree with me :) but we’ll do it anyhow.  Come over to the Pinterest board and I will introduce you. Am I going to get an inbox full of emails? I’m a little nervous…


Please email me ( to get in touch with anyone whose contact information is not above.


Featured Image Photo Credit: The image is “Central Park in Fall”, taken by brooks215, linked to the source here.



Science, beauty, truth. Transformational results.