The precise fan colours are not necessarily represented and they don’t need to be. Maybe it’s better that they’re not, to give you a sense of the Season’s borders in colour space, often wider than what the literal interpretation of the swatch books suggests.
You don’t have drapes. Or anything else for the skin to react to. Of the many companies out there offering PCA services, I would have to hope that if we agree on one thing, it’s that the ‘analysis’ part of PCA refers to the evaluation of simultaneous contrast effects. That word, contrast? By definition, it means between two things.
Light Spring was looking all dreamy and holiday till I inserted that green purse. Is that item helping the nice feelings or is it taking over? Is everything around it washed out and falling back? That’s what a Light Spring woman looks like wearing Bright colours.
The swatch book reads a trace redder. If the lipstick looks too pink, the addition of some red would improve it, especially if the woman is on the cool side of this colouring group.
We can’t do sharpness of colour, since muted colour is a prerequisite of Soft Autumn. We can’t do sharp as darkness either. Soft Autumn is very soft, quite warm, and medium light to medium dark. It’s the lightest Autumn. You can easily read without turning on a lamp. Because it’s on the sunny side of Autumn, the colours feel bathed in late afternoon light. Not candlelight, that’s Dark Autumn magic.
We need some other expression of sharpness, the same one that the body itself expresses. That’s when our clothes make sense, when their lines and colours are the same as the body they go on.
A colour analysis is a huge experience squeezed into 3 hours. The client is taken way back to the most authentic trueness of herself. All the junk and inventions that have piled up over the years get flipped away. The Luxury Drapes are the first step in building her back up again, letting in only what’s real and right about her so she can recognize it forever more.
Right now, I’m learning to recognize the lightest colours in the 3 Winter palettes. They’re complicated. I have a theoretical knowledge of them but finding them in fabric has been hit-and-miss. This rendition of those colours shows them to me in a different way that I can imagine better in clothing. I can picture it more easily hanging on a rack or a bolt of fabric.
True Summer, like True Winter, isn’t an overly colour busy Season. In the Winter’s case, it’s because every colour is so much that one at a time is plenty. In the Summer case, there’s a tranquility, like a Japanese Zen garden. The softness of the colours means that they weave together more elegantly than Winter, but a hint of hectic or functional takes the feeling off track. Also no giggles, no sarcasm, no squirting (Spring), and no forcing, no pushing, no controlling (Winter). All is perfect and all will be perfect.
Bright Spring contains Winter and that presence is important. When Winter steps into the warm Seasons to create its four Neutral Seasons, its effects are less subtle than when Summer steps in. The cooling and darkening are more noticeable. You can tell in the person. They look more contrasting, though not necessarily dark.
Beauty and belonging are where your eye sees them. Do you know what a split complementary colour scheme is? It begins with the usual red-green, blue-orange, or purple-yellow pair and shifts one of them just a little on the colour wheel. Much more interesting, dimensional, and stimulating than the straight red-green formula.