Tag Archives: colour analysis swatches

A Sharper Classic Soft Autumn

Not entitling this Dramatic Classic because I don’t want to imply that I have any expertise in body line assessment and the fashion choices therefrom. But I have opinions, oh boy. Since I’m a Dramatic Classic myself, I would like your help in adjusting what I could do better before I spend money.

Recently, we showed some softer wardrobe choices for True Winter, for those who don’t feel that making coats out of Dalmatians quite describes them. In the same post, we saw choices for Dark Autumns who identify better with mink than shearling.

We talked about synonyms. For example, in the Light Seasons, light could mean not dark, and also not heavy, not complicated, not aggressive, and good-humoured.  Softness as it applies to True Winter and Dark Autumn would not imply more graying of colour, since that contradicts the colour attributes of those groups to some degree. We looked for synonyms for softness that found the intersection between the word soft and its other possible meanings – perhaps velvety, creamy, rounded, flowing, smooth, supple, decorated, satiny. Soft has many other renditions, in soft tastes, scents, touch, sounds and music, and shape, form, and texture. Today, we’re going to look at all those to find expressions of sharpness.

Classic Soft Autumn 1

 

Dressing for Sex Appeal and Wealth

This is not the same as Dressing for Sex and Money.

What Is and Is Not Sex Appeal

What does sex appeal look like? Or what looks like sex appeal? I don’t have to have sex or even want sex. The point is about telling the world that you’re fully engaged in life. Sexuality is part of life as a grown-up. The thought of broadcasting sexuality never enters my mind and doesn’t have to. Sex appeal comes across just by looking like me and for every woman when she looks like her real self. When I wear who I am, I am saying, “I trust my gifts.” That’s the seduction.

Everyone woman is extremely beautiful. She doesn’t have any choice. The switch flips to ON when the X’s line up. Female energy was drafted that way in tandem with female anatomy. I’m the guy in the room who never laughs at stand-up comedy, talk show humour, Elf, or any other funny person, Robin Williams only sometimes. If you can get past all the fu** during the movie, The Heat, I had tears running down my face. There’s a point to this story, which I’ll get to here, many digressions I can feel coming on. Sandra Bullock has an athletic Natural body shape, to which has been added lots of drama of a swashbuckling type, rather than a Nature walk type.

With neither she nor we being conscious of it, we see what happens to our perception of her (played out hilariously but accurately by the characters and script) in different clothes. When the story needed her to be boring, the wardrobe folks knew just what to do. Put that body in a suit. It never manages to look right. She looks awkward, just how the story needs her to be.

As when wearing someone else’s colours, there is no wrong or bad or ugly. Every woman overflows with beauty, sex appeal, and femininity. But there are better choices for those to come across. Sandra, gorgeous woman and a gorgeous suit, combine to create no excitement whatsoever. Something gut-busting happens to the suit and whaddaya know, she starts looking great. Eventually, she appears in battle gear. Now we get why the movie is called The Heat. We feel relieved, relaxed, and suddenly very interested in her. She’s available to us in every way. In the suit, her presence, drawing power, and magnetism came in around negative 20. The army gear was closest to her brand of sensuality. Wearing it, she looked most feminine.

However your colours and body type were intended to seduce is irrelevant. It goes on autopilot when you stay true to them. Bubble gum and cherries perfume can be fantastic on some women, and be confusing at best on another who could have been so much more elevated, expressed, and attractive simply by changing to a casbah patchouli event. A forest makes no sense smelling like apple pie, right? Projecting authenticity comes across as sex appeal, as “I’m in the game. I know what looks good on me.”, “If you throw me the ball, I’ll know what to do with it.” Which extends to, “I am  capable. You can trust me with responsibility, decisions, and money.”

Confusing sex appeal with media-sexy has women of all ages giving it away, forcing it away. That’s not sex appeal, it’s despair, but many women compare themselves to it. Trust me, the pushiness has nothing to do with attraction. It’s capitalizing on assets. Men are built to know the difference.

All I’m saying is you’re lovely as you are. You are enough as you are. I’m a little disappointed if you still wear orange when you’re a Soft Summer. It’s not peaceful. I’m very OK with you wearing it if you know it doesn’t look good but you love wearing it anyhow. That’s peaceful in a different way.

Many women, especially the 18 to 30 group, cannot tune out ridiculous sexualizing of women.  I’m not saying to ignore it, that’s hardly realistic. We all know it’s there. We all know that 90% of advertising involving women’s bodies is drastically altered. A mediator might say it can be there, it can matter, and you’re still enough, and what we can do about it to help you find a better peace.

How I find peace:

1. Meditate. My favourite is from Deepak Chopra. Listen to it with earpods if you can, now that is a trip. In meditation, you’ll find optimism. Joined with the forces that create worlds, how can you ever be alone?

We’re programmed for action. It’s intoxicating to to have 20 new Likes and 30 new emails to answer and a new diet and a new resolution and to be doing all the time. Sitting still is not intoxicating by exhilaration, it’s intoxication by nurturing. Like eating spinach. Except, we are programmed for instant gratification. Not the week after you ate the spicach,  let alone 20 days or 20 years later.

Our brain is always in fight or flight. It always sees things it thinks it has to protect us from. As Dr. Changizi explains so fantastically well in The Vision Revolution, our brain has evolved brilliant ways of keeping us safe. The larger problem is that in fight or flight, the brain is incapable of learning. It can be a stressor with a toxicity of its own. Neuroscience tells us that the sustained stress actually shrinks the hippocampus (cognitive function, adaptation, learning). Like an over-protective parent, we need to find some freedom to spread our wings. The brain thing is rooted so far in that we’ll not dig clear of it. The only way is by quieting it. With stillness, maturity, and accountabiltiy, we can see clarity.

2. Move. Bloodflow is an important pat of neuroplasticity. Brain, body, spirit, what happens to one happens to all. And it puts a better frame around your life.

3. Laugh at it. Fear-based illusions, such as comparing to media-women, can’t stand up to being laughed at. They can’t find the toe hold they need to anchor in. I meet women and we’re divided in two camps. Those where media got into their head and those where it doesn’t. Doesn’t matter where we live, what we do, our age. Is the difference how much we need/want/care about the company of men? I don’t know but if I can help one woman be free of the you-are-not-good-enough chatter in her head, I want to be there. Read Caitlin Moran’s How To Be A Woman.

4. Make a space  for what’s wrong about sexualizing women’s bodies in the pursuit of money. An important friend shared this link  (Pinterest, Don’t Compare Yourself) with me. I sent it to my daughters, son, nieces, nephews, sister women instantly.  Girls, boys, and young women and men need to talk openly about it. There is nothing wrong with us. Not one single thing. We. Are. Perfect. I. Am. Perfect. You. Are. Perfect. They just convinced us there were  things that needed fixing to sell us stuff, and damn but we bought into it like crazy. If everyone woman I see is perfect in herself, how can that not apply to me as well?

Why It’s Good to Look Like Wealth

Not …Look Like Money. Different thing.

What looks like wealth? Similar discussion. It doesn’t have to be expensive. Certain bodies automatically make certain lines look richer. Sandra’s body will make a banker’s suit look cheaper than it is. Looking like wealth is not related our bank account, money per se, or equating success with money. They’re only loosely related in my book. Not about where we shop or comparison to others. Those backfire by setting up too many more-than and less-than relationships that block the multiple and powerful ways in which outside influences can help us.

It’s about wealth as synonymous with maximal happiness, because isn’t that what wealth is? That, in turn, is synonymous with success. Maximum happiness (success) is maximum peace. A particular style on a certain body conveys abundance, which speaks to creation, fulfillment, sharing, and enough. The connection and belonging says, “These two things are extensions of each other. They share something real.” To us the viewers, it feels peaceful to look at.

Wearing the same jacket everyone else is wearing says, “I follow. I obey. I am willing to negotiate myself, instead of celebrating myself, to accommodate a magazine, a friend, a man, a job.” Or  maybe it says, “I am imposing this effort on myself to get something.” That sets up struggle, and in turn resistance, and winds up pushing what we want even further away. Not peaceful to be or to look at.

Telling the world (and yourself) that you live an enriched, independent, expanding, self-directed life will happen by choosing a different jacket. In the black T and cargo pants, we felt Sandra tell us about being unconstrained, unbridled, and without inhibitions. That’s the truth of her particular energy. It isn’t the truth of mine. When we find our own, we all express autonomy, individuality, liberty. A free human. Now that’s a beautiful thing.

When body and line, or body and colour, are the same, they connect. There were meant to be together like silver and moonlight, like forest sounds and forest smells. We like it. We want to engage. Tension flows away. We want to stay longer and keep the good feelings coming. Colour Analysis, like Line Analysis, is the Theory of Relativity. When it feels good, time goes by faster. You’ve discovered your brand of wealth. You are closer to your peace.

 

 

Classic Soft Autumn 2

 

The Season – Your Natural Colours

In 12 Season personal colour analysis, Soft Autumn is the Neutral Season (meaning a group of natural colouring that is a blend of a warm and a cool source Season) that is mostly Autumn with some influence from Summer’s colour properties.

Autumn overall implies golden heat, muted colour, and darkness. Summer’s colours suggest blued coolness, muted colour again, and a lighter colour selection.  Since both are muted, their combined Season is very soft, softer than either Autumn or Summer’s already soft starting place. As opposed to the type of softness we were seeking in the Softer True Winter article linked above (where soft did not mean muting of colour), here, soft really does mean muting or graying of colour. With soft colour (muted) and Summer’s presence (soft as in traditional ideas of femininity) in Soft Autumn, how do we create a wardrobe for a person with sharper lines?

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 colours are 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.

 

Classic Soft Autumn 3

 

The Line

Dramatic Classic is familiar to us recently as one of the 13 Image Identities in David Kibbes’ 1987 book,  Metamorphosis. The terms have been used in other style contexts and seem to have a similar meaning.

There are bodyline experts with the skill to join any of the 12 Season palettes with each of the 10 to 12 body types. Watching them work is quite fascinating. Their results are transforming, startlingly so. My worldview is jolted forward every time I see it happen. I am not one of those body type experts. I’ll defer to their greater knowledge every time.

My Polyvores are not textbook perfect.  Someone you hire as a line expert is expected to adhere to the highest potential of knowledge and practice, as I do in a personal colour consultation. Here, I’m doing an adaptation. Fashion that doesn’t work in my life doesn’t work period. It’s here to do me the favour, not the other way around. Sure, the shoes below should be more pointed in the toe, but my feet will hurt the day his do.

Classic always seems to me very medium. Nothing is extreme or irregular, in body size or facial features. The lines and angles are on the sharp side of medium, like Jacqueline Onassis, as opposed to a person whose lines and angles are on the rounder side of medium, like Grace Kelly.

As with the 12 Seasons of natural colouring, there are very few averages in the real world. To know for sure, you should ask someone who understands the entire scope of the subject. I’m a Classic but I’m told my eyes are big in my face, though C types usually have features that are pretty even. I guess my big teeth even out my big eyes, though my lips don’t. I’m shorter than usual for a DC but my body parts are evenly distributed.

My taste is conventional. When I wear unique or creative items, I get “?????” looks. When I think I’m stretching the limits, my kids tell me I look plain – because they can compare me to the full range of how people look. I can only compare me to me, which is one more reason why self-colour-analysis and self-line-analysis tends not to work.

An interesting question: Are women good at picking out clothing for their body lines? I don’t know. If it’s like colour, they run 50% in terms of how many people have a sense of their colouring and how many of their best colours they could choose. I had absolutely no sense of body line, like zero. I’d wear whatever I saw around me. Life and shopping are so much better now. How I’m treated and how I treat myself are so much better. Like colour, you don’t have to be perfect. Being halfway better improves appearance by three quarters. If you would like to learn from someone who really dose understand how to make the very best of body line, follow the wild papillon at Polyvore. You’ll find clothing choices explained and many collections of Seasons and styles, including a few different Soft Autumns.

Interesting that no Polyvore collection comes together any faster than any other, even the Soft Classic Summers. We may feel that all this knowledge will make shopping truly impossible, but that’s not what happens. With a little practice, we get better at seeing ourselves and knowing our stores.

 

Classic Soft Autumn 4

 

The Meeting Place

Where’s the meeting place of Soft Autumn’s colour language and a sharp classic line?

Autumn does Business Chic incredibly well. The drama part escalates the picture to High Stakes Executive. Makes me think of the projection of Ivanka Trump. She is not medium enough to be a classic, has some fullness in her features, and who knows what Season she is, but her professional clothing style is close to DC at times. Maybe Julianne Moore could be DC. The whole Bulova type brands, you know? Lord&Taylor has all sorts of nice Ivanka wear for classics, sharp and soft.

What might be an issue?

Autumn texture. Texture is too broken up. Ivanka is sleek, tight, clean, and organized, not earthy and natural. I also doubt she’s an Autumn. Julianne has much more texture (freckles, hair) and she may have some Autumn, though I doubt it’s as much as is often suggested. I believe in wearing what you are, so Julianne would add a little texture (snakeskin or metallic, not fluffy or chunky wool).

Animal prints could go either way depending on the item.

A suede belt? Probably too natural for a Classic. A suede skirt? Not sure so I tried it, picking the least adorned one I could find.

Leather jacket (leather pants should be worn by nobody, but then I’m a Classic)? I think so.

Plastic, because it’s really smooth? I don’t see it as natural enough for any Autumn.

Be careful with hair highlights. They can look random, which translates to a little messy and uncontrolled on a very organized and controlled woman and her wardrobe. This is a nice colour, though many Soft Autumns are significantly darker of hair colour.  The hair style and the person seem a bit natural, but it’s a good colour without looking obviously processed or busy.

We can associate Summer with flowy fabric. Not all of them. Don’t apply the Season stereotype to anyone, about any aspect of colour, line, or shape. Soft drape won’t stand up on this body, it risks looking limp. Limp doesn’t express sex appeal and wealth.

How else can we interpret flow? From thesaurus.com,

  • continuity: as in gradual colour transitions, great on Soft Seasons
  • series: so maybe a monochromatic outfit, which can look expensive because it’s not irregular
  • connections: as repetitions, very good on sharpened classics.

Summer circles? The person is way way more classic than they are dramatic. If the shape is sleek and a little sharp, could be fine. Clean and organized work for sure.

 

Classic Soft Autumn 5

 

10 Rules of Dramatic Classic According to Me

I’m a DC Dark Winter. What I think applies to most sharp-side classics is:

1. Smooth, especially around the face. If it’s not, we’ll push each other further in opposite directions as opposite things do.I’ll look flat and 2D while the item looks like a bathmat.

2. No mess, all organizers welcome. Even ruching is an issue but a little low down on the side is ok. Scarves are complicated but a simple one that lies flat and is arranged a little dramatically could be good on a Summer blend. I doubt traditional lace will work, she’ll drain energy like a dripping tap, but there is a version of everything for every body. I just haven’t seen lace for all the body types yet. You can build natural looks wtih lower budgets. This look is harder because there’s nowhere to hide. Goodness knows, I still try every day.

3. Little or no explicit decoration. No ruffles, peplums, bows, lace, fuss. Even prettiness can start looking frumpish on this body when you’re not paying attention. No open toe shoes but sandals ok, slingbacks excellent.

4. Not cute or young. Cap sleeves, borders, a hint of bunny ears, kitten heels, they just look silly, not cute or young.

5. Nothing weird. It’s a medium and symmetrical body. How wide could the tolerance for weird be? Where would weird find a home? No pink briefcases, patchwork raincoats. Your Natural teenage daughter might say your clothes are plain, old, and boring when she sees pictures of them, just like she’ll say the colours are dull if she’s a Winter (she won’t recognize them as plain or dull when they’re on your body, under your face).

6. I never know why I feel so negative for crew necks since they’re so classic. Boat necks are worse on me, I think. The neck has to slice up or slice down, and slice narrow, to keep the voltage high, which is what I really want in this life. A crewneck might be OK if there were a collar necklace and the rest of the top were great  or had a superb dramatic print. Cowlneck could work well on this colouring but I’d need to be shown how . Asymmetry or sharp pleats on one shoulder could make a crewneck better.

7. A certain amount of busy-ness in a print is fine but there’s limits. Damn straight I’m a good DC with helmet hair to prove it. Same with a purse, which should have plenty of organizers inside. If they’re on the outside, all those zippers and snaps look busy and messy and feel annoying and complicated.

8. About stripes: diagonal and vertical good, horizontal trickier, ok if thin and regular.

9. For purses: nothing squishy, fairly square, and not real big or real small. Picture the purse version of a banker suit. Now, we’re in low gear, giving it gas, and we’re towing.

10. No visible logos even if it says Armani, which is a super good DC brand and seldom (ever?) has visible logos. Hugo Boss is right up there too (Bloomingdales has some great items).

 

Classic Soft Autumn 6

 

What I Don’t Know About Sharp Classic Autumn

1. Length of jackets. I think it’s tight as a cropped style at the waist or long just after the break of the hip but not further. This may depend on height. I’m not tall (5’4″).

2. Plaid is usually good on Autumn but I can’t quite imagine what it looks like for Summer + Classic + sharp.

3. Pearls on a Summer blend could be fine. This whole topic interests me a lot, how much the different Seasons actually could express the style stereotypes inside the style types, like their own dialects.

For instance, those equestrian boots in 6 – equestrian anything is automatic wealth of a classic sort. Ski anything is wealth of a dramatic and natural sort.

The link bracelets in 3 and 5. Links are good on Autumn. They can run a little biker on me. I know a DC Bright Winter, they’d be even more biker on her.

Natural elements are good on Autumn – the leaf necklace in 4. I don’t see it on Winters. This is almost astonishing to me. Like seeing it all in a new way. Paraphrasing from The Polar Express, “It doesn’t matter where the train is going. What matters is whether you decide to get on.” I’m on all the way to wherever the Destination is. I hope to see you there.

Is a sharp classic from the Summer colouring groups less sharp than a Winter? Kate Middleton seems to me a sharpish classic. Wearing those styles is when she looks great. I don’t see Diana’s big outward natural energy. Diana always looks big in photos, even thumbnails. Kate looks smaller despite her height, and more contained. I did wonder about a Natural energy but she has so much symmetry.

Symmetry feels formal, I would guess, which is where the Winter stereotype of “formal, ceremonial” must have come from since so  many Winters have symmetric features. Most certainly, not all Winters have them. Asymmetry feels informal, which feels livelier (warmer?) and works so well on many Springs. Many Springs have that cheerleader/BFF feeling of Natural body types, but there are plenty of Classic, Romantic, and Gamine Springs. Anyhow, everyone will have a worthy opinion about Kate. Kate is softer than Mrs. Onassis, the image of DC. She wears that hairstyle well. Is it just because she’s young? Michelle Pfeiffer is quite sharp and she’d be a Summer. I really wonder how much Season would influence line within a given body type.

I would also like to know if women have different degrees or tolerances within a group, as they have with colour. Inside our 12 Seasons, we find our best individual expression. Body type must be the same, since we can’t divide all humanity in 10-13 groups within which the advice will apply to each person equally. Every woman expresses her Season her own way, even with the same body type. Like the 12 Seasons, it’s not so much a rigid gospel as a way of bringing some kind of measurable, teachable, reproducible objectivity to our native lines.

Body type analysis is a guide for my Light Summer Soft Natural sister to not default back to her True Autumn Gamine styles, for which we are all grateful. My Dark Autumn Gamine friend finds affirmation and confidence to wear her knit red dress with yellow footprints (I’m not making this up) in her small farm town. Suddenly people see, expect, and love her snapping wit, instead of expecting a TV Mom when she wears more conventional outfits and taking offence at a style of humour that was so big, it took them by surprise.

Back to the clothes, some of these outfits would work for Kate and some may be too masculine. She needs more decoration. Again, is it because she’s young? Softer in the range of DCs? Not Classic at all? Because we’re used to seeing her items that cost 10 times the amounts that I controlled above?

4. How much asymmetry? Not a lot but some is fine. To me, the softer Classic is much more symmetric than this one. I really like the neck and flat pleats of the pinkish dress in 4.

5. How much flare? Bootcut is ok if you can’t find straight leg. The coat up there in 6 is good in the top and in that it flares but doesn’t flounce in the skirt. Worn by a classic body, would it look like two styles fused into one garment? Not sure. Maybe better for a softer classic.

6. If you find black soles on boots – you gotta know when to fold ‘em. Soft Autumn has pretty good darkness and the contrast from boot to sole may increase the overall sharpness.

7. Gray is great on Summers and Autumns, and good at becoming what’s around it. I put in that jacket in the lower L of 6 because the style is good. The gray is too sharp though, better for Dark Autumn or Dark Winter. The color necklace is too soft, too colourful, and too irregular is my guess. It doesn’t belong. I was trying to use colours to take attention away from an imperfect gray. I don’t think this outfit would really work on a Soft  Autumn but I wanted to try it. So many good things about Polyvore, the ultimate in comparison shopping and no-limit outfit trial runs.

8. Set 6 is where I experimented. The top R group is probably Soft Summer but I’d try it in a store. A cool Soft Autumn might wear the colours. Is the dress too irregular? IDK but I’d try it for that too; it’s smooth around the face.

How much saturation could Soft Autumn wear? That aqua dress just to the R of the numeral 6, I’d certainly lay the palette on it and see what happens.

The crystal pleat coppery skirt? Again, IDK if it would be wrong on DC, but I like it a lot. A line expert could probably tell you how to wear  it.

 

What watches? There’s a lot of watches? The batteries ran out long ago. Don’t replace them, save money and buy perfume.

 

—–

The Value of the Luxury Drapes

They’re almost ready. Finding a wide variety of stunning colours for the three Winters that are not all Prom Satin and Wedding Whites in May and June is not so straightforward. I anticipate the end of August when they become available to purchase.

I want to talk today about the purpose of these Luxury Drapes, how they serve your client and your business as a 12-Tone or 12-Season personal colour analyst. They build value for your client, plain and simple, where most of the decision-making should be based. Your service can offer more, the client receives more, your credibility climbs, and your business name earns its reputation for fantastic payoff for the fee.

Before we get on to their purpose, we could talk about what they are.

Before that, we should clarify what the Test Drapes are and their purpose.

The Test Drapes

The Test Drapes are fabrics in colours that are organized into groups. You can call the groups Seasons or Tones or Natural Colouring Type. Each group shares the same or similar dimensions of colour (light-dark range (value), heat setting (hue), degree of pigment concentration (chroma or saturation)). The groups walk us through 12 combinations and controlled levels of the colour properties,  moving along through a logic tree, comparing a human being’s colouring to themselves, until the best harmony is found. The tag on those Best Harmony Drapes is the client’s group or Season.

Test Drapes

 

The Test Drapes (those I provide to my students and Terry Wildfong’s) are not intended to be a client’s best colours. There are no catch-your-breath WOW OMG colours in the Test Drapes. If there are some, it wasn’t planned, but OMG does happen because synchronous wavelength feels good to be around. We live on a planet of wave energy. We emit it ourselves. Seeing it feels almost like remembering or reconnecting. It’s a form of recognition, as “Oh, so this is how this is going to happen.”, like when a door opens and something you’ve been trying to figure out is suddenly easy and obvious.

People write to me saying they’d love to be trained as colour analysts because they’ve loved colour so much for so long, but they doubt their ability to see the optical effects I write about. Seeing it takes a little practice to learn what you’re looking for, that’s true. Seeing it isn’t the hard part at all. Everyone sees it. That’s the point. That’s why it’s so important to have it done and know your own colouring. The family members watching see it plain as day right from the start.

More requiring is coordinating how to think with what you see. Learning to plug the data that your right brain (images, impressions, emotions, associations, big picture observations) and left brain (measurements) are collecting as you watch the drapes change on the client

into an impartial deductive process that doesn’t overreach, get overly excited too soon, jump to nervous conclusions, or let in thoughts that begin with “It can’t be…” – I will let newly trained analysts speak for themselves but I would guess this is the harder part.

 

Photo: fangol
Photo: fangol

 

The Test Drapes are a ruler. A measuring tape. Instead of measuring bust, waist, hips, they’re quantifying hue, value, chroma. It’s hard to do by looking. Our visual system starts overlapping incoming signals. Warm colours often look more saturated than they are, like True Autumn. We can’t look at a blonde-haired blue-eyed person and see that their most significant colour dimension is highest saturation and know that they’re Bright Winter. If we just look, my belief, we literally can not know, as in not capable of knowing, because our eyes are not biologically set up that way. We have to measure.

Client can feel a little discouraged when they watch the Test Drapes, You mean to tell me that these are the colours I have to wear??

It’s natural and normal for the client to see the Test Drapes as potential clothing. They could be, but that’s not the point of them or how they were picked. It’s not the client’s job to understand their purpose. It’s the analyst’s job. We can reassure her that she does not have to wear these colours and yet, with every drape change, she’ll say, I would never wear this colour! The analyst has to keep saying, You don’t have to. You are not supposed to. They’re measuring you. Be just as patient and happy about it as Beyonce when she climbs onto a stage to sing that same song for the 399th time.

The client’s response has some value, but not a lot. Half the people out there are drawn to colours that suit them and half are not. The analyst has to make independent decisions. Asking the client, Is there a colour you’d never wear? tells me more about how permissive she is about colours, how defensive, how open to change, or how adamant about not changing. It does not inform me as the analyst about what colours live in her body. Most folks carry too much convoluted colour history to know which colours do or don’t suit them, much less live in them, and they tend to lump them together. “I can’t wear green.” applies to nobody. Many Light Summers won’t wear yellow – yet, they’re made for the right yellow. It’s in them already.

If Terry and I picked middle-of-the-Season colours for the Test Drapes, you’ll need to be some Hot, Sharp, and Well-Rested colour analyst to make the right choice. New graduates won’t thank me. I would not thank me. If I met me at a party, I would give me the cold shoulder for making my job so much harder. The colours have to be extremes. They should be a very awkward fit for every colouring but one.

The Test Drapes are chosen to be colours no other type of natural colouring, or Season, could wear as well or at all.

Now if it’s splendid colours you’re wanting, I have an answer for you.

 

The Luxury Drapes

The Luxury drapes are shown to the client once the Season is known and the Test Drapes are hung up. I show them before makeup with the gray scarf still over the hair, since that’s how our eyes learned her colouring, and again after makeup. She sees a selection of her beautiful colours in textile. It helps her make the leap from the swatch book to fabric. This is how she will understand her position within the 3 dimensions of colour in the physical world, how the idea will move from theoretical concepts inside her head to an idea come to life on the stage of her life.

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.

Sci\ART, the company whose founder, Kathryn Kalisz, developed this most remarkable system, used to sell sets of 8 and 15. I only have the 15s. IDK if the 8s were the same fabrics or not. I am aiming for 12. They’ll only be sold as 12 sets of 12. I would love to find enough colours to offer 15, but it may be a case of, You can have them right or you can have them now, but you can’t have them right now. Offering smaller start-up sets isn’t likely to happen. I’d have to keep track of which colours everyone bought in Round 1. I might have all different fabrics once you’re ready to buy Round 2. Or worse, some fabrics may be too close to what you bought in Round 1. Save up. Do it once. Do it right. Don’t look back.

As with the Test Drapes, the Lux Drapes will be available only within the Sci\ART community, with priority given to those who have taken the training course from Terry or me.

 

Luxury Drapes 1

 

Use the Luxury drapes as a means of developing her understanding of how to wear her colours. We can talk about saturation levels till the cows are home, milked, and fed. When she positions her limits is when she sees and feels them, not when she thinks and hears them. Colour is visual.

Seeing her colours as selected by an analyst helps her understand them. They can be compared to neighbour Seasons. Don’t show her Bright Winter periwinkle without showing Bright Spring’s alongside it, even just in the swatch books. Without visual comparison, our brain is stranded.

The Lux Drapes are her gateway to a world of possibility limited only by her creativity. She steps into a pleasure of harmony between her and everything she wears that she has not felt before. When the client leaves your office, it will be from your script as she met the Lux Drapes that she should be able to say a few words to a friend about these aspects of the new wardrobe that she will build and shape in time,

her darkness range – is she white to black, chalk to pewter, or some other?

her lightest colours as distance from white

importance of contrast for her colouring and how to adapt it in attire

purity of pigment, or saturation, and how to recognize it

the unique radiance or glow that her Tone can achieve more beautifully and believably than any other

use of correct hair and eye colour, explaining why hair colour is not always in our palettes or drapes

her right and real hair highlight

eyeshadows and neutral colours

use of texture and how it influences the dimensions of her colours

most flattering type of shine in fabric and metal

colours of metals that flatter her most

her best version of white and black

what it means to say warm and cool versions of her colours if she’s a Neutral Season

her best red lipstick red

the complementary colours to skin undertone colour

the unusual, unexpected colours

how she will add interest, risk, fun, authority, or imagination to outfits… and look smarter, more trustworthy, and worth more $$

how to begin incorporating the colours she finds more challenging

colour schemes and combinations that work with her and for her

a visual for colours that are not used to test, such as purple

the fact that she has many colours that are not among her swatches, and how to achieve harmonic agreement in shopping situations

that we really mean it when we say every colour goes with every other colour and she doesn’t need to own different makeup for different outfits anymore

what to never put down money for again

feelings of nervousness about exploring a new world she didn’t know existed, of colours that felt challenging, of some work ahead to make this place into a new home, and feeling that she has the tools she needs, will get better with time, and seeing the road ahead going forward and up

how empowered she feels in this moment by all the knowledge you gave her, by knowing the colours of her parachute

Analysts would probably agree that many clients get it for the first time when they see the Lux Drapes, or get how they’re going to do it.

 

Luxury Drapes 2

 

The Luxury Drapes can assist in confirming Season. Some people’s colouring sits on the 49/51 border between two Seasons. Look for the magic. It will only be in one Season. Compare similar colours from each possible Season that the other would not wear as well, a blue to a blue or a red to a red, choosing the extreme versions. Every single Luxury colour has been harmonized to that Tone using the original Sci\ART palettes and the excellent palettes from True Colour Australia. For the client who hasn’t been convinced with the Test Drapes, the Luxury Drapes provide another means of increasing their confidence in their Season.

You can arrive at the correct Tone using the Test Drapes, of which you have 3 more per 12-Test Season than my original Sci\ART sets. You can be in business for a year or two before buying Luxury Drapes, or you may never acquire them. They are the next level investment.

Luxury Drapes are not the place to cheap out. I didn’t skimp on fabric. If it was evocative to me of that Season’s unique and unparalleled beauty, I bought it. This is the analyst’s chance to shine, to be irreplaceable, indispensable, to tell her things nobody ever has, based on all the scientific testing you just completed. This is where you pull it together for your client. They’re your client’s first chance to see and feel how her colour home will recognize, welcome, accept, and support her. As partners, join her in the first leap from the theory of the Test Drapes and Colour Book swatches to the reality of how they translate into clothing, cosmetics, hair colour…every thing she will buy from now on.

As the analyst, they are your best chance to change her relationship with an idea using something she understands. She doesn’t understand the hue/value/chroma package well enough to really use it in stores. That’s analyst jargon. Of course, it’s important to present it as the scientific basis for the process, but she won’t retain much from a crash course in colour theory, let alone call on it to guide her hair colourist. We need to speak to her in her language, not ours. Understanding how the pancreas secretes insulin is not going to help her manage her diabetes. That’s the doctor’s job. Knowing how to choose her diet and adjust her insulin dose, those she can implement tomorrow to make her life better. Seeing how her colours translate into fabric is what she’ll apply in stores at least as well as her chroma level.

The Lux Drapes are the wave up to which the whole colour analysis experience is building. Let them wash over her. Go slow. Let her soak them up. Use them as the fantastic teaching tool they are. Use them to position your business as a part of her life she can no longer shop without.

 

——-

New 12 Tone Plumes at Indigo Tones

A few articles back, I mentioned how a True Winter impressed me so much by focusing what matters to her life into one word: fairness. I thought a lot about it and decided my word would be excellence. After a week, I didn’t feel I’d hit the target yet. Reflection, thinking, and asking found a more sincere and enduring word that holds everything I am and want to be: learn.

If things started out perfect, life would be monolithically boring, like a world without competition, flat, repetitious. That is seeing What Is while thinking What Is. Now, seeing what is and at the same time thinking how it could be more is the brain region that took 4 billion years to evolve. It’s what makes humans different.

When LEARN gets plugged into DREAM, possibility has no limits. We’d never have gotten the iPhone 2, 3, 4, 4S, 5, and 6. Starting out perfect is a tedium that makes my blood run cold. It goes so against something very fundamental about why I think humans are here. There’s nothing I do today, my doctor, my clothing designer, or my colour analyst, that I hope isn’t better tomorrow. Some folks might slot these ideas somewhere between irritating and corrupting and they’re not wrong and I’m not right. We just aren’t meant to be together.

Innovation and improvement are brainstorms come to life so we can touch them. The first time I saw a projection keyboard jump out of a phone, I was blown away.

 

 

Sorry, that was a tangent but I could not get stopped. It’s way up there in Topics I Care About. Kerry may be reading this thinking, Will you please shut up about the meaning of life thing? You’re distracting the readers!

Right, Kerry, you’re right. Back on topic. But listen, big congratulations for what you’ve done with your swatch books. Thank you for sharing your own growth as a colour analyst to teach us more. I hope to do the same over the years.

The Indigo Tones swatch plume palettes have been esthetically beautiful right from the start. How beautiful is actually quite surprising once you really see them. I wrote about them once before, here. Not only are they lovely to own, they are a highly diversified way of teaching us about our natural colouring. In my dictionary, natural colouring, Season, and Tone are synonyms for personal paintbox, my very own colour wheel, and the pigments that filled in the lines of me. (Don’t hold anyone else to my dictionary, OK?)

IndigoTonesSoftAutumn2013-1

 

The colours are extremely Season-accurate. Each swatch is quite large. This was true in the previous Books.

For those of who see today and the status quo as nothing more or less than a starting point, the new palettes are outstanding. This is definitely not a lukewarm upgrade. All of them are more dense and rich in colour, some (on mine, purples and darks) more than others (where the higher colour intensity is less distinct). The production technology appears to have improved, but that may be just an impression from having more pure colour.

The more time I spend matching fabrics and cosmetics to Season, the more I’m realizing that matching a single swatch to a garment doesn’t work very well. A colour analyst may be able to do it faster with practice because she knows all 12 Seasons equally and is versatile with hue, value, and chroma, but I still shop with my swatch book and compare every purchase I care about. We all have human sight. We can’t tell if we can’t compare. We can’t judge one dimension, say, chroma, when another is extreme. Hard to call the real saturation of something that has low value (darkness), which is why so many Soft Summers get told they contain Winter – because by just looking, we can’t tell they’re dark and muted, not dark and intensely pigmented. Dark colours tend to seem more saturated even if they’re not. The only way to know is to compare their colouring to a known quantity like the drapes.

Personal Colour Analysis has to work for the Person part. You. Your colour-matching success is more likely by backing up a few steps and matching the entire swatch collection to the garment. The idea is detailed more in this article.

IndigoTonesLightSummer2013-1

 

I don’t believe we can own too many Colour Books of swatches. The more slants, the more translations, the more tools we have to get our thinking right, the deeper our possession of it. I once talked about owning 2 Books from different companies. Today, I believe that if you could find 8 accurate ones, you should own all 8. Not a single colour would have to be repeated. Every colour system, every colour format, every new interpretation adds something. The less narrow the concept in our head, the more layered, accurate, and interesting the outcome.

You have many thousands of colours. Since you don’t want to carry a wallpaper catalog around when you shop, decisions have to taken about which colours to include. This is like an expansion set. About half of them are new colours, different enough from the original to be two separate colours. Those Dark Winter greens that so many clients are finding and enjoying are a great addition.

The balance for the creator is how to give women a wardrobe and a sense of their Season’s colours. If new colours are coming in, old ones have to be replaced. I have both Books because I didn’t want to lose any blues but I love all the extra reds. Some people hide in black. I hide in red.

IndigoTonesDarkWinter2013

 

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.

Kerry’s comments:

The Dark Winter book was changed more significantly than some of the other books in terms of colors. While those more autumnish colors are part of the dark winter harmony I felt that they didn’t reflect the overall season best and searched for other threads that did. On every book I added some new threads but my main goal was really to reflect the essence of the season in a harmonious layout while providing the most variety in colors possible. So, it’s not going to be true that there are so many more colors in most cases – it’s a different and hopefully better representation of the seasonal tone harmony.

 

Thank you to Kerry Stich of Indigo Tones for these photographs and the permission to use them.

I will let Kerry talk to you about your own Season’s Book and other questions you may have. You can find her at www.indigotones.com

 

For someone who knows her colours, this is a gift she would simply adore. Adore and use. What more do we want from a gift?

 

—-

True Summer Visuals and Soft Dramatic Styles

The term Soft Dramatic (SD) is one of 13 Image Identities from David Kibbe’s extraordinary book from 1987, Metamorphosis. If you can find yourself, it can be an astounding key to your best clothing line. I am so NOT a Kibbe expert. I’m certain that if he looked at my Polyvores, he’d think, This isn’t what I meant at all. Reader beware.

David Kibbe Metamorphosis

 

 

This question from J:

I’d like to add femininity to casual wear but sometimes I don’t know how. How to add glamour into your everyday life/work? I used to want to appear as strong as possible. Now I have softened it down a bit, and, big surprise, no one ate me. ;-)

I think I have the most difficulties separating the True Summer from the Soft Summer in the range of beiges/taupes/browns and the range of corals/reds. Kind of the colors that we see as warm per se. Maybe also some of the greens, that are not actually blue greens, but more along the grassier or khaki side. The more unusual Summer colors, I guess.

 

By the time we’re working with neighbour Seasons in 12 Season colour analysis, and from the same parent Season, like True Summer and Soft Summer, finding words to help you distinguish them is not possible, at least not for me. They’re just too close if you look at them one swatch at a time. Trying to find your colours that way may be part of why PCA fizzled 40 years ago. Going back and forth and back and forth and back and forth from one colour dot in a swatch book to a piece of fabric will only make you irritable and the store staff even more so.

My best advice is to learn to look at your entire palette when you try to match a garment to it. Have a read of the article Getting More From Your 12 Tone Swatch Book. This is a total woman, head to toe, all the colours together all the time, big picture situation.

If you’re a precision person, as Summers often are, you’ll want to own both True and Soft Summer swatch books. Compare them both to a garment by laying them flat and fanned out on it. You’ll see which is best. Sometimes, it’s very hard, in which case, it just doesn’t matter enough for clothing. For drapes, that would be a fabric I’d never use. How can you test with it if both work? When you look at only one, one anything, your visual system is stuck. It’s like asking someone if this colour looks good on you. They’ll say Yes. What they should say is, Compared to what? Show me two and I’ll LYK which one is best. That’s how our biology is configured to get information from vision.

You might want to own Colour Books from different companies. The more ways you see and read about your colours, the more sense they will make and the more recognizable they’ll become. You’re looking to replicate a feeling, not a particular colour.

 

Photo: surrahman
Photo: surrahman

 

Also, to my eye, color not only flows from cool to warm but also from one color to the other. So, sometimes, I just don’t know, if, what I look at is a grey with a lot of purple in it or maybe a very greyed down purple?

We’re not comparing apples to apples in that question. Colour always flows from cool to warm. It’s built into the physics of how light strikes objects. It cannot be altered or argued. In the 12 Season sequence, the heat setting of one palette shifts to a warmer or cooler setting as you move along to the next Season. If the two purples you describe belong to True and Soft Summer, one will be warmer. If you paint them as two dots and let them run together, then the colours will indeed flow into one another, but the two ends and any given colour between them will only belong in one Tone’s palette, the one whose colour dimensions (heat, value, chroma) match those of the colour.

 

True Summer and True Winter

 

I get the feeling of coolness and freshness that you described. What I don’t understand here is the softness. Soft as opposed to True Winter, yes. But then, when I’m in a store, all those colors mixed up, that is not the feeling I get.

Regarding the image above, understanding softness in your question to mean low saturation rather than draping fabric, and choosing apparel line and styles randomly just to demonstrate some colours:

Summer colours are on the left. They feel watery, misty, calm. Not heavy. Far from white. A little heathered.

Winter colours, on the right, feel more aggressive and intense. They have more green. More colour. They’re further from gray. It’s hard to tell though, because as colour darkens, or as one colour dimensions changes in any way, we find it tougher to judge the other two colour dimensions. The top one seems too close to white for a Summer and I don’t pick up heathering.

Neither one is at minimum or maximum saturation, because True Summer and True Winter are not. What matters most is that they’re cool. Even that’s hard to tell. Winter green can look warm, I suppose because the blue and yellow that made it came from Winter’s paintbox, where the yellow is intense.

What about the center column? I wouldn’t know if those are Winter or Summer any better than you would just by looking at them. I’d have to lay the palette on the garment and see if the two were equal or if one loses energy. You’ll see this happen. The Summer palette will dull if the fabric is Winter. The swatches will be much too strong and bold if the colour is Summer. You’ll be able to feel which one is at home for most fabrics. If you can’t, it would probably be fine. You might need to own the Winter Book. The more precise you want to be, the more precision tools you will need to acquire. True for carpenters, musicians, and colour matchers. Not a big thing. Probably costs less than two blouses. You won’t learn this by owning one Book. You’ll get it as soon as you own both.

Clothes in photographs are just like people in photographs. A little off. You can take a hundred pictures of the same person, same time, same place. They look different in each one. Can’t tell what’s true. In real time, our brain can adjust for that, like it does all the time with all the white we think we see that would not be pure white, were an artist to paint it. For survival, our brain has adapted to learn when to get visual information that means white, even if the colour isn’t white. We see many photos of women trying on clothes. When have you ever met anyone and had them look just like you expected? Never. If Mr Kibbe writes another book, I hope he puts in lots of group photos.

Photo: lpierard
Photo: lpierard

 

I do get a feeling of elegance. The same cheap sweater, that looked so funky and trendy in Autumn’s beige, managed to look somehow more expensive in the blue-grey. Seems elegant and calm to me and… nothing! There’s nothing added, no warmth, no pop. It just stays as it is. I used to judge that as boring and without personality. Now I’m open to see if one day it will show me that there actually is something. Maybe I just can’t see it yet. I wonder if what I’m asking for is a comparison of the visuals for the three Summers.

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, with none of the agitation that accompanies heat, whether smoke (Autumn) or sun (Spring). The softness of the colours means that they weave together more fluently than Winter. Even 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. Not rugged, earthy, productive, or work-related (Autumn), no showboat, glitter, or anything synthetic (Bright).

A visual for True Summer: the Japanese Zen garden.

Peaceful, green, strong, by no means self-effacing, monochromatic, courteous, the penultimate of diplomacy and respect, meditative, reflective, cool but not dark, searching.

Soft Summer visual is heavier, more solid and substantial, a rock garden, a woodland. Light Summer’s has movement and lightness, a fountain.

 

Photo: lemunade
Photo: lemunade

 

Maybe also some jewelry advice. [But I find it very interesting, that [other systems] are all about teardrops and elongated s-curves, all very looong, while you mention the circle as the True Summer shape.

That circle shape came from my imagination. It is not a fact, it’s a blend of what I have read, seen, felt, and thought about. There’s no more truth in it than if you said, I think Summer’s shape is a pentagon. There are no facts here and only a little logic. The left brain isn’t the one doing this. We’re not measuring anything. I could see spirals too for the true cool Seasons, though more in Winter since they begin and end in the deep center, which has True Winter written all over it. The trailing vine is definitely a good Summer shape. For many, their hair follows this line. Every Season could have many shapes. So could every body type. Some see triangles for Winter. I don’t feel it but I can see why they do. Spring is more triangly to me, though more the zigzag than the closed shape.

 

Photo: br44
Photo: br44

 

I’d just love to see your perspective on Soft Dramatic True Summer. How does this combination of colors and lines and whatever else there is look to you?

I know this woman from my life. She is indeed a True Summer. She’s 5’7″, sleeps till noon, reads all day, is far more busty than hourglass. In fact, I have no idea what her body looks like below her bust. Couldn’t tell you if she’s curvy or not, no idea what her legs look like. I do know that she’s a knockout.

She cooks like Julia Child, drinks like a sailor, wears a splashy sarong skirts and big chunk diamonds in her ears to have her backyard bulldozed. The sarong and diamond look is the only time I notice what she has on. She also favours mid-thigh tunic tops and straight Capris, which look pretty good as long as the print is a big, boozy Georgia O’Keefe vision.

Her right location is in a chaise longue beside a Vegas pool with a turban on her head, cigarette holder in hand, G&T on the go, watching the 18 year old pool boy at work. This picture absolutely needs up-there jewelry, exactly what Kibbe describes. Smooth, big, and $$$-looking. Andre, the masseur, is arriving later this afternoon.

These are casual clothes. It’s easy to fit this body in gowns and gigantic jewelry. What’s it look like at the parent-teacher interview?

 

True Summer Soft Dramatic 1

 

Like colour, the whole point is to bring together the person and the clothing lines that bring out the absolute best in each other. Finding the style in any palette would be tough because it’s just so exaggerated. The women who would look great in it have no idea who they are, not unlike fuchsia blush. For the general population, the image seems meant for the stage, not the office. Get Noticed clothes are scary when the crowd all looks identical.

She has much less texture and more opulence than a Flamboyant Natural. She won’t wear wedges, the FN could. Same big frame, big hands. A movie star who comes into her own on the big screen, loses something on a TV, and looks almost ordinary on a smartphone. A cocktail ring babe. Sunglasses and wide brim hats, earrings, necklace, rings, scarves. Drama, glamour. She can make the dainty, delicate, and simple disappear, not in the good way, like blue on Summer, which is so much part of them that it’s almost invisible, like their ultimate neutral, their perfect equal. Here, little stuff gets chewed up like it isn’t even there, the ultimate unequal.

Like all Summers, contrast outside her colour palette can disappear her. Stay inside your lightest to darkest range if possible, whoever you are.

 

True Summer Soft Dramatic 2

 

The only way to get your clothes look like yours is to wear your own line. That’s when you look normal and fabulous, as opposed to normal. Your clothes look like ‘just clothes but wow clothes’, like Bright Winter blue sapphire satin looks like just blue but wow blue only on that one type of natural colouring. These clothes are lusciously large scale. In this picture of Sophia Loren, it doesn’t seem as if she and her clothing bring out the best in each other. Nor this image. She’s not who we know her to be. The colours and lines next to her look as if she feels some way that she doesn’t at all. There’s no point telling the world that.

The True Summer colour analyzed palette is the opposite of exaggerated. I can see that it might be careful looking on this woman. Accessories and big shapes pull the whole thing in the right direction.

True Summer looks better in their greens and teals than their blues. Blue is too equal to their native wavelength, like a blue aura inside a blue force field. Such a good fit that you can’t tease them apart. All their blue-greens are unbelievably enhancing. Like if you can find the right red lollipop red, it’s more incredible on True Spring than their yellow, maybe even more stunning than their nectarines just by the power of red.

For an Soft Dramatic, no casual outfit will ever be casual by other body types’ standards. The clothes look normal in a Vogue shoot, not a Food Court. This is not a Natural body. Turtlenecks, hoodies, shirts, the clothes much of the industry provides are not the ones that best flatter her. How to do casual? Would wear kitten heels when the men arrive to replace the front porch, but not high heels. Will not wear shoulder pads to the Farmer’s Market. Will wear flip-flops when hosting the Fun Day BBQ for the summer cottagers and their kids. Is going to wear jeans, fleece, and flats just because they feel good.

 

True Soft Dramatic 3

 

 

 

—–

Can Some of My Season’s Colours Be Too Dark?

Here is an excellent question from K, one that I am asked often for most Seasons as some variation of,

Should All My Colours Be Equally Good?

In K’s words,

My question relates to the darker and cooler colours of the Bright Spring palette. Bright Spring was clearly the hands-down winner in the draping, so I don’t doubt that. However, despite really enjoying wearing the lighter and brighter shades in the palette, the cooler and darker shades seem heavy or draining somehow – the lighter ones seem to reflect more light off my face and brighten me up more. The darker and cooler colours also feel too serious or something. I am on the warmer side, so perhaps this could account for it…

I wondered if the darker colours were only supposed to be used in smaller blocks, or intermixed with the lighter values, in order to brighten them up? Or, should all of the colours in the palette look equally good in a large block under the face?

I also feel better in warmer, sunnier makeup, again seems less serious/formal than the cooler shades. I have tried to wear some of the cooler fuchsias as lipsticks, and it feels overdone and constrained somehow (although I do recall your comment about winter makeup being like housepaint on spring, so perhaps even if it’s a swatch match, the heaviness of the pigment/texture could throw things off)…?

 

These are good questions with some answers that apply to all persons of any Tone. Each woman and her own natural appearance will refine other answers. There is no one-size-fits-all when there are only 12 groups.

My first thought when I read the Q was, too dark for what? From K’s question, I take it that she’s asking about wearing the darker colours in large area, as she says, rather than whether they’re too dark to wear at all because they fall outside her own darkness range as a person within that Season. The second option can’t be it because the drapes measured her value (light/dark) range. They measured her heat level (hue) and chroma too. The Season is the name given the hue/value/chroma settings that she is herself, or the best harmonic match.

Think of your palette colours as the paint puddles on an artist’s hand board. They are the colours you will use to make an abstract painting.

Photo: johnnyberg
Photo: johnnyberg

 

No rule tells the artist that she has to use equal areas of each colour. The size of the colour elements in the painting will vary widely unless your composition is intended as a tablecloth of equal sized blocks. That is not wrong. It can still have interest, emotion, and mood. But most of us don’t dress as coloured checkerboards. It feels somehow limited in the mind, restricted instead of expansive, not expressive of who we are as individuals. Our clothing choices tell others our story. A checkerboard is like a spreadsheet of us rather than a picture of our beautiful spirit.

Photo: Billy Alexander at thinkstockphotos.com
Photo: Billy Alexander at thinkstockphotos.com

could be good on an Autumn; I owned a T-shirt like this once, it was great

 

Every colour in any painting has a presence regardless of its surface area. Without that one thin black line, it’s a different painting. You notice one tiny yellow sail on one tiny boat in a big blue ocean landscape. You notice a woman’s nail polish or a miniature diamond within seconds. Could be the little areas attract more of our attention because they take more effort to be noticed.

We are not one block of colour to look at. In the eyes of others, we are the entire colour palette, every colour, all at once, all the time. Fan the thing out. There. That’s what the rest of us see when we look at you. Extracting one colour and wearing it as a solid block doesn’t repeat any person perfectly. The colours that are most natural and instinctive will be the ones that work best alone in large blocks. Though everyone has maybe 10 that are fantastic, the best of the best might be

- the undertone colour or close to it, like yellow orange on True Spring, or mulberry on Dark Winter

- representing the primary colour dimension, like antique mauve and silver smoke on Soft Summer

- sometimes repeating an eye colour, like flame gold and hot, rich green on True Autumn

- sometimes exemplifying the feeling of the Season, like bright and energetic on Bright Spring, or blossom colours on Light Spring

- the complement to the core colour, as purples on the five Spring-influenced groups, or a combination, such as periwinkle on Light Summer, that holds the blue of Summer and the purple of Spring and is heartbreakingly lovely

- and sometimes it’s beautiful and I’m not sure why: True Summer in soft fuchsia, watermelon red, or rose petal, with dangly, swirly silver earrings is plain gorgeous.

 

Photo: bbeltz
Photo: bbeltz

True Spring; no bold lines, the blocks are distinct by colour divisions; not misty, earthy, heavy, bold, geometric; instead, this is energetic, hippie, fun, busy, buoyant, and natural (where natural is not the same as earthy)

 

On a Bright Spring, the pure, fresh, spanking new colours will absolutely look better in a single block under the face than the business suit colours, even better if they’re shiny. Of course, they do. It would be odd and worrying if they didn’t. Bright Spring is defined by brightness and a good measure of lightness. It is expected that those types of colours would be automatic and easy. Bright means bright by any connotation of the word, including light, upbeat, clear, and vivid. Bright means intelligent too :)

Light colours are extremely visually attractive on Light Seasons. That’s the whole thing about that type of colouring. Light means light as buoyant and airy too. When you see dark colours on a Dark Season, conversation hangs for a few seconds. The mind is preoccupied with seeing. The Most Important Thing, TMIT, is not just most important for technical reasons. It’s also very organic. A colour-analyzed appearance is appealing to our intellect and intuition equally. The right and left brain hemispheres are equally fulfilled. For a second, the satisfaction is so high that nobody talks, like the first spoonful of dessert or sip of your favorite coffee, where one sensory system is 99% engaged.

Photo: iprole
Photo: iprole

 

Photo: patkisha
Photo: patkisha

Bright Spring; as busy or quiet as you like; more dark colours and/or small areas of black contribute to an overall darkness level that is darker than True Spring; pure pigments, still happy, bright, and fun; the composition speaks of movement, the colour blocks remain quite distinct; modern, clean, and stylized, less natural than a field of daisies or a wheat sheaf, more energy than a lily pad

 

The darker colours of the Bright Spring palette will not turn the person yellow, pale, shadowed, or otherwise distorted as colours of other dimensions, found in the other 11 Seasons, did. Worn alone, their mood may be too somber for the natural appearance. The feeling we attach to neutral colours and dark colours has more gravity than do the light and bright colours. For this reason, Bright Season people tend to look better in the shiny version of their colours than the matte side of the drapes.

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. Some aspect of the appearance or character may be exaggerated, like strength of eye colour, the sharpness of the planes of the face, sweetness on a dark person or intensely goal-driven tendencies in a light person.

William Shatner was like a True Spring Captain Kirk. Willing to be childlike and funny, with rounded edges. You’d be safe if you met him at a party. Chris Pine is the Bright Spring version. Edgier, more aggression, more contrast in the colours of eyes and coolness in skin, and you’d know to lock up your daughters. Point is, Pine is missing something if he dresses too safe. He needs the cooler colours and the darker colours to activate the bright, fun colours. Otherwise, he’s a boringly inauthentic version of himself. This applies to every Bright Spring I’ve ever seen, and I’m certain that includes K. Wear the cools and darks. Choose small areas but don’t leave them out.

Photo: k_vohsen

Bright Winter; Winter’s presence is darker, sharper, balanced, and less reachable; for all Brights, the light element is clear, large, and holds the prominent interest and mood; the lines express the teardrop shape of Spring; this woman has a logical reason to flip up her eyeliner at the outer corner

 

What about a Soft Summer woman in a long navy dress? Even if it’s her navy, the dustiness really needs to be completely obvious, it’s TMIT after all, or the full impression risks being darker than she is. Her body will seem small in comparison to her neck and shoulders. The navy may even start looking darker than it is. The whole picture is like a willow tree top on a black flagpole. Thinking, Well, I can see it’s muted where the fabric is sheer… is not near muted enough.

As an aside, I can’t talk without them, you should try shopping with me, that straight solid vertical line says Winter to me, for no logical reason. Winter always feels like solid, still equilibrium. Solid, but not earthy. A marble statue is solid but not earthy. A pharaoh is solid and a little earthy. Maybe that’s why I keep the pharaoh visual in my head when I put on Dark Winter and True Winter eyeliner. Geronimo, Chief Tecumseh, they’re earthy. A Grecian column is still, neither earthy nor energized. It just is. None of them makes sense with flipped up eyeliner.

Back to the navy dress, with a silver gray shawl, sure, could be fine, but if the colour really is the darkest option in the swatch book, this is not the most beautiful painting I could put under a Soft Summer-coloured head, no matter how light or dark her hair colour.

Photo: wing
Photo: wing

Soft Summer is about this dark to look at

 

About the colours you saw yourself in during the draping process, where some looked more captivating than others:

The Test Drapes are not intended to be colours you buy, at least not the drapes that the new colour analysts from the training course are receiving. They are intended to be a little, hm, obnoxious. Terry and I looked for a colours where the other contestant colour would not be worn well, if at all, by the same person. The analyst is trying to make a decision, not suggesting you’ll be wearing these colours. If you’ve draped real human beings, you have seen how challenging these decisions can be. The drape colours, and you have many in our Test Drapes, push the extremes so the analyst is most supported in making the correct choice.

Photo: caltiva
Photo: caltiva

 

Photo: Billy Alexander at thinkstockphotos.com
Photo: Billy Alexander at thinkstockphotos.com

 

Photo: fishrmann
Photo: fishrmann

Dark Winter choices; top, bold colour in a neutral background ; middle, warms and cools together; lower, more colour, use of undertone colour, small areas of intense heat, spans white to black

 

The Test Drapes also allow the client to see who they’re not. I can babble on about saturation till the cows are home and fed. When my client understands what to never, ever put down $ for again happens when she or he sees the colour in textile. She develops a broad understanding of what Winter colours really look like, what pastels really are, and what muted actually means. If the drape colours are focused on being oh, so pretty, they can end up too similar. Wrong decisions might slip in.

Photo: sqback
Photo: sqback

True Spring; use as many or few colours as you like; the effect is sunlit, warm, natural, alive, moving, changing, safe, joyful

 

The Luxury Drapes and your swatch book colours are not ponchos. They do not look equally perfect in equal space under your face, though other analysts might disagree or have a different definition of perfect. **They are equally wearable without warping the overall harmony.** That is how they’re special. They allow you to narrow down to 1 out 12 the colours in the store that you have to choose from. In fact, they contribute with gigantic importance to the final harmony.

Four to eight of the colours are magic. At your analysis, they might not be the same 4 to 8 as the next woman of your Tone, though once an analyst gets used to her drape set, they usually are quite reproducible. They could be different between Sci\ART analysts, all of whom have different drape sets, so any two analysts would name the exquisite and confirming colours differently, as would the women you chat with online. We can say that none of the colours detracts in any of the ways your face demonstrated in wrong colour during the analysis.

Photo: caltiva
Photo: caltiva

Light Spring; you can feel the blouse, the texture, the scent, the necklace, the highlights; how lovely to be in the world and look like this

 

We can’t wear head to toe magic colours. A painting in only magic colours is both mundane and insane with nothing to set off the magic. We literally need grounding, as in ground colours. The rest of the colours take part in dimensional compositions that create a scene. They set up the lighting, give the eye a place to rest so it can take in the actors and the action, arrange the music almost to the point where you can hear a single note throughout the composition. They match and support the plot.

Photo: Billy Alexander, at Billy Frank Alexander Design on facebook
Photo: Billy Alexander, at Billy Frank Alexander Design on facebook

Dark Autumn; small areas of black; no white; a parchment effect, a bronzed impression ; corners; bold elements without being a modern geometric; more natural than modern/synthetic (which is Bright)

 

Really, colour is only definable by wavelength. Nothing else.

Colour as we see it is a massive optical illusion.

We cannot even know the truth of a line until we see it in its real colour. The real shape of a face, for instance.

That’s why the room goes quiet when the colours and the person connect, when the magic snaps into place. Because we need a minute to absorb what our eyes see and admit that before, we never saw what we were looking at. It’s a, So this is what she really looks like. moment. Somebody might laugh. In the brilliant Cluetrain Manifesto, David Weinberg said that laughter is the sound that knowledge makes when it is born. The lens just focused on that human being. Once the colours and the person are on the same wavelength (literally), the full force of their nature is brought into the light (literally).

Photo: fangol
Photo: fangol

Light Summer; quiet grace, the optimism of the flower, swirly, no black lines, more colour or less colour is up to you

 

Whether your colouring is lighter or darker matters some, depending more on what your eye likes to see if you were looking at a woman who looks like you, rather than any rules someone sets down. The overall darkness level of the painting is nice when it’s the same as yours.

Your inherent contrast level – how big is the colour jump between your own big colour blocks, eyes, skin, hair – matters a little, but I think people get too hung up on it, at the risk of looking like they wear the same thing every day. Your Colour Book is like a 16 lane highway. Narrowing yourself down too much is like only driving in the middle lane. I don’t see being too careful about this making much difference for the better. You probably look better and more interesting than you think you do, in more colours than you think. If you are more medium in overall contrast, then insert a medium block of any size. Spend time expanding yourself to use your colour-analysis swatches all the way to the ends of every strip. Get out of the middle lane and try an off-ramp. It will be good.

Photo: StefanG81
Photo: StefanG81

True Summer; says who, water has to be blue? It can be silver gray, hydrangea purple, light misty blue, and cloudy day dark gray, better at the same time.

 

The warmth or coolness of your position in your Season does not affect which colours look better in clothing that I’ve ever seen. I actually like when warms and cools are worn together by Neutral Season people. It looks interesting, imaginative, and artistic. It gets that, How did you know how to do that? thing going.

Warm or cool side colouring within a Tone can play a role in cosmetics in some people. Cosmetics are less predictable because they sit on your face and mesh with your internal pigments to result in a mixed colour. The same lipstick does not look identical on two women of the same Season. The Seasons are too broad for that.

This aspect of your colours needs a little experimenting and custom-choosing, one woman at a time. Your Season is your center of gravity, which doesn’t mean you can’t move around without tipping over. Women often start where they’re most comfortable. Within a year, they decide to try an old too-cool lipstick again before they give it away and wonder, Why did I think this was so bad? Why was it planted in my head that it is dark and purple? It’s neither one.

Photo: Ayla87
Photo: Ayla87

 

Photo: winjohn
Photo: winjohn

Soft Autumn paintings; more Autumn geometry on top, great boots, an excellent handbag, a warmer overall feeling; in both, beautiful use of texture; bottom, an interesting way to bring in blue, as a pendant on a necklace

 

I sometimes wonder if we look for too many rules. Is there a line where we want to be told every aspect of how to dress, or how we do anything, by someone else, so that we don’t have to take on any responsibility for it ourselves? I’m all for getting advice on hair colour and makeup from colour analysts and other advisors who have a critical approach to colour and our appearance.

But there’s a difference between asking, What looks good ON me? and, What looks good TO me? I can talk lipstick into the ground. What I love way more is the woman who tuned me out awhile ago and is thinking, What would MY eyes like to see?

Photo: tnimalan
Photo: tnimalan

True Winter? No. Too safe. This is nowhere on True Winter.

 

Try again.

Photo: nijop
Photo: nijop

True Winter? Still no. Too much outward energy. True Winter is the Earth, and often a person, turned inward. For many Winters, empathy is a learned quality. Pent up energy, surging outward, but still cold, is Bright Winter’s feeling.

 

Photo: tnimalan
Photo: tnimalan

True Winter. The whites are so white, they’re blue. The black is the pitch of night. The number of colours is 1, elevated and undeniable. The feeling is contained but not gentle. This energy form is hearing its own rhythm.

 

At what point we insert our own opinion differs for each of us and no answer is wrong. The women and men who read here are brilliant and very far from being doormats. The fashion industry has made easy prey of us all. I get confused too and ask my kids what looks good on me.

I just wonder if we women have gotten so used to being told what to do that we’ve learned to like it. It’s easy. It’s familiar. It’s the devil we know. It would tick everybody around us off royally if we announced that from now on, we will think, choose, decide, and undertake on our own. Problem is, it keeps us stuck in someone else’s vision.

For me, beauty exists when I recognize the natural world I live in. Maybe that’s why I don’t find a lot of little detail attractive on certain types of natural colouring. We don’t see small detail in the dark (Dark Autumn and Dark Winter). We don’t see intricate detail from a distance (the 3 Winters).

I would rather you have hair colour and makeup in opposition to every word I’ve ever written a million times over before you let someone else tell you what you think. Or worse, what you feel. My answers, anybody’s answers, to how you wear your colours can only take you so far because they are neither right or wrong. Ask yourself, “What feels good to me?” Only there can YOUR right answers be found.

 

—–

Getting More From Your 12-Tone Swatch Book

As you leave your personal colour analysis, you have a gorgeous little booklet that contains 65 colours that harmonize to perfection with the colours in you.

You head straight for your favourite clothing store. Within 10 minutes of being there, you notice that matching those swatches to real clothes isn’t quite so straightforward. Is close enough good enough? It wasn’t when you were sitting in front of the analyst’s mirror.

The harder you try to match those swatches to clothing, the harder it all gets. Maybe there’s another way to go about this. Forget about the little swatches. Look at the entire palette all at once. That’s how you look to others, all your blues, reds, yellows, browns, whites, all churned together at once.

One of the greatest gifts in my life, one that humbles me because I feel I did nothing to earn it, is the woman who trained me. Four years later and I’m still learning so much from her. She is an amazing colour analyst. Terry took a break from PCA. She’ll soon be seeing colour appointments and training again (in Western Michigan). You’ll meet her in an upcoming post. She showed me this most excellent way of appointing a colour to its Tone or Season.

>> Fan the Colour Book all out.

>> Lay it on the fabric.

>> Better yet, look around the store or your closet for two items in similar colours. Even once you get practice at this, without a comparison, our visual system just hangs there, thinking, So? I’m waiting for your next move here. Give it a comparison, any comparison, and it gets (gets both in the senses of ‘to understand’ and ‘to fetch’) what you want. We have no idea what a colour is anywhere, in a fabric, in an eye, or in a person’s face, how cool, how dark, how anything, until we compare it to something. If you happened to compare the colours of a face to a calibrated colour ruler, why, now you have a Personal Colour Analysis worthy of the capitals.

All those salespeople who feel they have enough experience to match your foundation by eye, who can just tell by looking at you, are the last folks I’d purchase from. That’s not because I don’t trust them from a theoretical POV, even though I don’t. It’s because I’ve wasted more $$ on those cosmetic purchases than any other. They may be the North American Head of Training for Whatever, doesn’t matter. May have more experience but they have the same eyes as everybody else. I’d buy from the new person who would feel better if she tried a few to compare. The more experience a colour analyst has, the more they’ll insist that you have a seat in front of the mirror and watch some drapes change.

Let these random thoughts float through your head:

>> Do these two things belong together, even if the exact colour swatch isn’t there? Often, it won’t be. Why not? Because you have many blues. If the book included them all, there would be no space to show you your span of greens. Or reds.

>> Does the palette look like more than the fabric, as if the swatches are separating from the fabric, or the reverse, where the palette looks dull and easy to ignore on that fabric colour? They should bring out the best and the most in each other. The eye should feel rest and ease, aware of both palette and fabric equally and happily.

 

Swatch Harmony4

We’re looking at a True Autumn 12-Tone Colour Book (from www.truecolour.com.au) on Light Spring fabric. Even though neither the swatch nor fabric colours are exactly as they appear to an eye, you can see that the Autumn colours are rendering the fabric to might-as-well-not-even-be-there. Overpowering clothes do that to us. As you see, they are not bringing out the best in each other. The swatches are separate, pulling up off the fabric, not blending comfortably with it.

 

>> Look at the reds. Could you make some beautiful lipstick combinations?

 

Swatch Harmony3

These swatches come from the Light Spring book. Again, the fabric in the photo is far more grayed than it really is. Still, they belong. They feel good on the fabric. The lipsticks work, both warm and cool options. Did you feel yourself relax when your eyes moved from the upper photo to this one?

 

>> Find the oddest, most extreme colours for that Tone. Do they work well with the fabric colour or would you never wear them together? When the harmony is right, there are no unpleasant combinations.

>> Are the neutral beiges/whites/taupes/grays really enhanced or boring? Or changed in some way, like greeny?

 

Swatch Harmony2

These are Light Summer swatches on that Light Spring fabric. Me, I wouldn’t wear the mauve taupe with the yellow green fabric, and it’s way more yellow green in real life.

 

>> Look for the complementary colours to the fabric colour. The pairs should be downright exciting.

>> Make some colour schemes. Monochromatic, analogous, contrasting. It should be easy.

 

SwatchHarmony1

Light Summer swatches again on Light Spring fabric. Close but no bell ringing. Those greens aren’t great together. That’s not a monochromatic scheme that works.

 

Are you thinking, There are no right or wrong answers here. How am I supposed to know if I got it right? How very astute of you. In French, they say, Les gouts et les couleurs  ne se discute pas. It means, There’s no accounting for tastes or colours. Let’s talk about something else. How about religion or politics?

It means that you can’t be wrong. And from there, you will settle in and get better. If you know your Season and have a coordinated closet, practice seeing harmony there before taking it into stores.

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.

From your colouring to your Munsell positions on the 3 colour scales to your Tone’s book of swatches, you create your very own piece of art.

Art is partly a formula. Without some feeling, individuality, or expression, it just stays a formula. That’s where you come in.

 

——-

Season Colours in the Off-Season

We have two themes in this article. One is to assemble outfits that are off-Season. It’s easy to find clothing in our 12 Tone palettes at certain times of year and near impossible at other times. The second is to introduce a new style voice, since I wonder if my outfits are a little repetitive.

My daughter, Ally, has more style in her little finger than I’ll find in my whole life. She’s Kibbe-innocent but can see whether lines match people instantly. Today’s Polyvores are from her perspective. I asked her to keep in mind that she’s dressing women of all ages, to which she replied, No woman of any age needs to wear granny clothes and I’m not picking those. Fair enough.

Ally’s also here to break a few rules. In her charming 17 year old way, she asked, Why does anyone have to do what you say? Point taken. Nobody does. You’ll find colours and styles you might not normally see.

Light Summer in December

 

Light Summer in December

 

 

True Summer in October

 

True Summer in October

 

Any one piece may not be perfect. But the whole thing together works. As S., the student who arrives this week for the training course, so aptly pointed out, the word match isn’t always appropriate. I use it too often. Whether your clothes match the swatches in your palettes, whether your lipstick matches your red belt, whether your sweater matches your hair – it doesn’t really matter so much. They need not be identical colours. They need only look like they live in the same harmonic field relative to the the whole composition.

The idea is to use colour to create a vision that is cohesive. All the elements are working together and with you. Everything has a good reason for being there. That’s how we look at paintings, landscapes, and other people. We don’t dissect the saturation of their blouse. So the vest above is on the dark side. So the pink backpack could be pinker. In the big picture, I’m not sure it would make an important difference. The parts are finding enough in common to stay together. Not unlike marriage or any other relationship.

True Autumn in April

Yes, it really is this cold here in April.

It strikes me that we’re still just making Polyvores. This may answer part of our purpose, which is, how to wear muted, warm colours when everyone else looks like an Easter basket.

The other part of the question is, where do I go to find my colours in April when the stores are full of coloured candy floss?

Shop wider; I’ve actually begun buying things I find on Polyvore. As eBay is the world’s biggest yard sale, Polyvore is the world’s biggest shopping mall right in my house.

Buy online, always risky, but many allow free returns.

Shop all year round for all year round; within 6 months of your PCA, once it’s caught up with you, or you with it, you will keep most of your choices for years, and you’ll spend more per item because you’ll know it looks right and will work with the rest of your closet

 

True Autumn in April

 

True Winter in September (or March)

 

True Winter in September

 

Any of us who knows both her colours and her body line finds shopping nearly as easy as it used to be. There’s no one-stop-shop any longer. We buy Christmas outfits in July, we are always looking. Other than True Winter and Soft Autumn, I don’t really dedicated stores for colours. Even for those groups, you’ve only got their (limited) design lines to select from.

 

By request, the Bright Spring Dramatic Classic

Dramatic Classic, where pouffy becomes maternity or Jack Sparrow. A rounded edge is Peter Pan.

What’s interesting here is that the Bright Seasons tend to have a lot of sweetness in the personality. I’ve heard them called pushovers but that comes from someone who’s only working from a traditional, narrow, male-based definition. Power wears many hats. These people are not mean, abrupt, rude, or rough. As the Bright Spring is a Spring, she will take things to heart. You can’t throw words around that you don’t mean. Being with her is an exercise in being happier and more gentle.

Dramatic Classic is not sweet in the traditional sense either. If anything, it’s a little sharp. If you began with the absolute average woman, DC isn’t closer to being the average child. It’s closer to being the absolute average man.

The intersection of the two is that Bright Spring’s colours and DC’s lines are both very clean. No extras, no gadgets, no fuzzy, no fluff. If you drew the outline, the edges would be sharp, no question where one thing ends and the next begins. Nothing fades into anything else. Absence of blur effect, noise reduction up.

I gave Ally a few colour words – lively, clean, same or opposite colours, a little bit of Winter, and the shape words – sleek, expensive, close, upside-down triangle or straight lines, and then just asked her to dress me. She didn’t read the book because we get too rigid about rules and end up in costumes. Her job was to pull together an overall effect.

Black is small, shiny, on the bottom half, with other elements that warm up the overall look. If black is in the top half, it takes up small surface area, it’s opened up like lace or pointelle, or there’s lots of skin.

Every item need not be sunny, there’s Winter here. But each vignette should say bright, alive, warm, crisp.

Something delicate really looks good. Crispness near the face looks good, it need not be especially yellow. Bulk with angularity looks clunky or spiky. Fine, thin crispness is good, like icicles.

Smooth, geometric, shiny, new, expensive – all work with the pearls, in a chunkier setting. The pearls are fine because the edges are defined, as feathers would not be. Those long dangling earrings, some DC’s might disappear them, but on a Bright Spring DC, they’d be great. The sharpness offsets the small size.

Hearts are an inverted triangle shape, as are teardrops, both great on Spring and DC.

The whole earring that sprays up – unless you know different stores than me, you’d never wear earrings. Chunky smooth pieces that sit close to the ear and have a solid presence on the ear lobe are good.

Mixed metals are good here when they’re shiny.

No platforms on shoes. Frankensteinish.

I normally would never wear a bow, but the asymmetric position of it is good. I like the design on that sweater, interesting with the blouse. One of those excellent combinations that nobody could do like Bright Spring.

 

 

Bright Spring Dramatic Classic 1

 

 

Bright Spring Dramatic Classic 2

 

 

I hope that you go to the site and make these images bigger. There are some really nice things here.

 

Can Eye, Hair, and Skin Colours Conflict?

Answer: No. Never. They can appear to conflict until your colours are correctly analyzed.

I get 3 or 4 emails each month about this. So let’s talk about it, framed around pieces of conversations with real women. It’s the practical application of my digression in the earlier post, How To Match Foundation.

Palette and swatch in this post always refer to colours found within your particular group of colours in the 12 Tone system of colour analysis developed by Kathryn Kalisz. Some of the Tones or Seasons may have similar or identical names with other companies but if their origin isn’t Sci\ART, their colour collections are different. I don’t know how other organizations developed their palettes, what their colours are, or what the desired outcome of their PCA process is. It’s not my place to answer questions about them.

The eye photos in this post are just lovely pictures. They are not textbook examples of the words or the ideas.

 

Photo: L-O-L-A

 

If hair/eye colours are not in the palette

I am a Bright Spring with dark brown eyes, dark brown hair, and light skin.

Yes, Spring under Winter influence is often brown eyed, from a glowy topaz jewel yellow to black brown. Many persons of Asian and Celtic origin have this colouring of darkness in hair and eyes and lightness and brightness in skin.

Since this is predominantly Spring, not Winter, the person is sometimes not conspicuously contrasting, though they certainly can be. A brown eye with light skin or hair is fairly contrasting in itself. Sometimes, the Bright Spring eye is so light brown that it’s yellow, like a wolf. It’s quite a thing to see. Or to be, I would think.

It’s this,

 

Photo: beverlytaz

 

not this, but notice the coat colours and the eye-coat harmony, animals are just like us,

 

Photo: danjaeger

 

 

The color of my veins, lips, and cheeks are all in my color swatches and flatter me. However, the brown in my eyes and my hair is not in my color swatches and does not flatter me when I wear clothes of that color. How can I wear brown as an eye and hair color but not anywhere else without looking washed out?

You’re wearing the colour you think you see, which is never what colour is. Here is one reason for why it’s harder to figure for some Tones.

There is variation in hair and eye colour in most Seasons, but nowhere more than True Winter and the Brights. I’m not sure of the answer from a genetic perspective. I don’t think anyone can answer the magic of how harmony happens in spite what our eyes think they see. Maybe the mysteries should remain mysteries.

The way I reason it is that we don’t know the exact pigments that make up our hair and eyes. If I showed you 20 brown eyes, could you pick out your own? Would you pick the same brown as your friends would choose? Would you pick the same browns, yellows, oranges, and other colours, that the drapes (consistent with the Sci\ART colour calibrations) identify within your colouring? Probably not, on any count. We do not know which colours make up our final colours until one is draped. If you knew and wore the ingredients that go into your total hair and eye colours, you’d be utterly flattered.

Bright Spring has many yellows, beer and clear cider colours. When they have dark hair, it’s usually root beer and black tea. It is never coffee, which only looks heavy and thick on a colouring that is as far from those as you can get. Lighter brown hair is herbal tea, not orangey-muted-gold, not velvety-dense-brown. It might look ash brown or medium brown but it isn’t.It i s clear. While clear means high chroma, and transparency is not a quality by which we define colour (because colour can be bright or soft and still see-through), this hair is like coloured cellophane.

 

Photo: boogy_man

 

People with green, blue and grey eyes seem to always look great if they match their clothes to their irises.

I would not agree. Blue eyes will match blue drapes or blue clothes in any Season but the best match is only in one. It’s not even a difficult decision. Some aspects of a correct analysis are challenging for a woman to perceive on herself. Achieving the ultimate eye colour is usually easy.

The colour a woman has matched to her eyes all her life is never the best or correct one in my experience. She needs her Colour Book to direct her to her turquoise and only then will her eyes become all they could be. I see women hope they’re wearing their eye colour all the time and most cases, they’re barely in the ballpark.

Blue eyes under Spring influence (one of the 5 possible Seasons) are seldom blue. They’re turquoise, aqua, or cornflower (light blue with very little green, the cornflower being one of the few truly blue flowers, but to me, appears a little violet). It’s a beautiful thing when you find it.

 

Photo: mzacha

 

Not just me but a lot of brown-eyed people can’t wear brown.

Quite right, many brown eyed people are Winters of some sort and have very little brown in their palette. And when they’re draped, darned if much of the brown in the eyes suddenly turns black and then they’re wearing their real eye colour at last.

Hair and eye colours as they appear are often not in the True Winter, Bright Winter, and Bright Spring palettes. I think the way it works is that the contributing base pigments are there but the mix isn’t.

You could say to me, OK then, if I could take colours from my palette and mix them, are you saying that I could theoretically make my hair and eye colour from the swatches?

I think so but the truth is that I don’t know for sure if any and every mixture would still guarantee that the hue/value/chroma remain constant. If you mixed complements, you would mute the colour if either of the originals contained the complement of the other. You’d mute the resulting colour into a more muted Season.

To make clear green (say, Winter), you need a blue and a yellow without red, I would think. Could it be done? Winter colours contain red, but are there a blue and a yellow without red? I’m not enough of a colour mixer to know.

Thinking out loud now. To make clear orange (Spring), you’d need a red and a yellow that contain no blue. That seems possible, Spring colours are not blue-based, though some contain blue.

Clear violet – needs a blue that leans red and a red with some blue in it, neither of which contain the complement of violet, yellow. That could make a brilliantly clear violet, even a violent violet, if it’s necessary – sure it is, for Winters. How is that done for Spring where yellow appears in every colour? Haven’t figured that out yet.

Can I make amber or warm brown eyes with a True Winter palette? I think so. True Winter contains yellow, very saturated, a little blue without turning it green. It also contains the other primaries of red and blue. Three primaries make brown.

True Winter and the Bright Tones are intricate and unique types of colouring. Not inconsistent, just complex. Which is why I suggest they think twice before colouring their hair. I have never seen it be improved enough to balance the cost, time, and upkeep.

 

Photo: lcrumling

 

I can match clothes to the rim around my iris (which is sort of a dark periwinkle) and it is quite flattering but if I wear clothes that are the same brown as my irises I look washed out.

So it’s not the right brown that you’re wearing, it’s just the one you think you see as the amalgamation of all the many colours in your iris. Good call to notice that the rim of the iris is different and if you can match it, a superlative colour on every person.

 

How can brown-eyed people can be any Season, but only Autumns can look great wearing brown clothes and makeup?

There are a million versions of brown eyes. Brown eyes can be in any Season, but they won’t all be the same brown. Same with the 12 Tone palettes. Many Tones have brown choices but they’re not the same brown.

Nine in ten women only find out their real eye colour when they are draped. Those brown-eyed people you refer to in your question and the browns that you refer to looking great on Autumns… very unlikely the same brown.

 

Photo: mokra

 

 

Are cool hair and warm skin possible?

I was snow white blonde as a child, but am now a dark, ashy blonde. It’s a cool colour.

 Dark ash blonde could be found on a cool, neutral, or warm person. Apparent hair colour isn’t tightly tied to the true heat level of your colouring, though your overall contributing colours and appearance are always 100% in harmony. Every person. The true heat level of your hair is perfectly consistent with the heat level of your skin and everything else.

We could take your dark, ash brown hair and place it next to five other dark, ashy heads. It would be interesting to see whose is cool, whose warm, and whose is neutral in between cool and warm. I would guess that your hair wouldn’t be the coolest if we compared it on a scale. It might be cool-ish, but that’s not Absolute Cool.

Because you know, Absolute Cool and Absolute Warm, they’re rare in human colouring. Kind of extreme. I haven’t seen a True Autumn or True Winter in ages. I see several Neutral Season versions of Autumn and Winter every month. The thing to wrap your head around is Neutral. What does it mean? What does it look like?

Just playing the odds, you are neither warm nor cool in skin and hair. If you’re like eight or nine people in ten, why wouldn’t you be, you’re a Neutral Season that might lean towards cool.

Whatever you are, cool, warm, or somewhere in between, the setting is the same in all your features. One genetic code governs your paintbox.

 

Photo: otbora

 

But I have medium light skin with golden undertones and no rosiness in the cheeks. All I see is yellow. Wouldn’t that be warm?

Colour analysis, which guides every colour decision you will make, isn’t about what you look like or appear to look like. Your natural colouring group, Tone, Season, is determined in the one way that can truthfully reveal it: how the colours in you react to other colours. Nobody can know their truthful colouring correctly without testing their own skin’s reactions against an organized and measured set of colours in a colour-neutral environment. If your colours react the way you expect them to, you would be that one person in 50 who knew ahead of time what was going to happen. That’s why it’s so hard to do from books and photos and impossible from verbal descriptions.

Your skin probably is light-medium. What colour your undertone is, or even whether it’s warm/cool/neutral, nobody knows till we test and measure it. Why am I so sure? Because nobody who comes to a colour analysis appointment is ever wearing their correct foundation – until we solve that question forever more and show you how to make the best choice.

 

Photo: thegnome54

 

If my hair is overly golden, my skin looks red. When it’s natural dark ashy color, highlighted with platinum, it looks tanned and alive. Just natural it is bland. Dark red wasn’t good. But when I went a more natural dark blonde with subtle red tones, I got many compliments. Dark golden blonde, more of a caramel, washes me out, as does all over light blonde with no contrasting darker pieces. Can someone have a seemingly warm complexion with cooler toned ash hair?

Actually it’s really common. Usual, in fact. Though there’s lots of good colour observation here, the description could occur in many of the 12 types of colouring. Sounds to me like you have cool-neutral skin with a little warmth, but placed next to wrong hair colour, it will look warmer than it really is. You may have a false yellow overtone, like many cool Neutral Seasons, and be interpreting that as your golden undertones and yellow warmth from the previous question.

Too yellow hair does make faces red, especially True and Soft Summer, I find. But then, there’s a disconnect in your comments. Dark ash with platinum sets up big distance between lightest and darkest, which I find looks right on nobody.

On Summer, their light/dark range isn’t this wide, since it goes from pastel to mid-dark, not icy light to very dark (which is Winter). And so it follows that their best highlight is not that far from the base colour, or else they look striped and severe.

On Winter, they do have this big light/dark range but putting it in the hair is only disruptive, breaking up their force. The randomness looks messy when placed on a colour language that is very far from random. Of course, nothing applies to everybody and you can’t generalize about hair colour across an entire Tone. Some Lights are not flattered by highlights either.

3/4 of women would say their natural hair colour is bland. Not remotely true but media has taught us that it is so they could sell us hair colour. The hair industry, ay? Their biggest problem is that they think they’re fine. Many women would not attest to that – the same ones who bought $40 a bottle of wrong foundation colour. Women love their colourist most of the time. We feel real friendship and loyalty. But regarding our faith that we really are wearing our very best hair colour? Not so sure. Hair is a trend-driven industry – highlights, lowlights, we’ve never tried copper, let’s go lighter. We only have one skin colour. It is illogical that we could be flattered by five hair colours. Become the expert of your own appearance.

Until you are wearing your best clothes and makeup, your natural hair colour will not appear as beautiful and perfect as it is – so I advise women after a PCA to make one trip to the salon to get the heat level set right and come closer to their natural colour. Then leave the hair for a few weeks and work on the clothes and makeup. Your eyes need time to readjust to the real original you and to absorb how your better colours affect your apparent hair colour by making it look perfect and ideal. Then you can really see your hair colour and you can go back to the salon, hopefully only one more time, and finish the fine tuning.

Also, once a woman has had many hair colours, she and those who have seen all those colours can’t make a solid judgment any longer. There’s just too much history swirling around. Someone outside your box needs to touch the reset button. I nominate your friendly neighbourhood colour analyst.

 

Photo: ElvisFan76

 

I am at a loss as to what color to dye my hair.

I’m at a loss too till your colours are accurately analyzed. You are like 98% of the real people in the real world who seem conflicting. You’re not. Nobody is. Everyone’s colours make complete sense.

Once we have your Tone understood, every single aspect of your colouring and the colour decisions to follow are consistent and coherent. It’s not even hard. Once we know the truth, each one of us is very logical and connected in our colouring.

But. Even knowing your Tone, I still couldn’t give blanket hair colour advice that would cover every woman equally well. Everyone makes her own darkness adjustment within a Tone. Not everyone is necessarily improved by departure from her natural hair as it grows out of her head. And for nobody is this more true than the Bright Seasons.

 

Photo: Jan Willem Geertsma

 

Art and Science

Not being able to explain a thing doesn’t make it not true.

C. said it so beautifully here,

…the science of light, the discovery that it is both particle and wave and how it behaves erratically when observed. So nature is evasive and we can not reduce everything in the world around us to neat mathematical equations

….artists working in isolation through history have been representing through symbol what scientists have been discovering in the lab at the same(ish) time and not even known it. Think of the cubists and surrealists relating back to Einstein’s new world of curved space and the theory of relativity, or the complex inherent patterns in Jackson Pollocks’ work reflecting a new understanding of the complex, previously overlooked patterns in nature.

It seems artists, at least revolutionary ones, had/have a deep unconscious understanding of the stuff of the universe and represent it through symbol before we have the words or the science to explain.

All of these threads…point in the same direction. Colour theory, it seems, is not about finding the best lipstick. It is recognizing we are made of the stuff of the stars and finding our place in the universe.

 

—–

The Soft Dramatic Soft Summer Part 2 (and Hair Colour)

Still lunar and fluid like all Summer, still vaporous, but with a dimensional quality, like a silvery apparition, the hologram we discussed in Part 1. Soft Summer does not have a feeling of steps. What these fairly-light and fairly-dark colours do is flow smoothly.

Paisley asked

Can the Soft Summer archetype as you model it have a warmer embodiment? Mostly we’re compared to water spirits (which imagery I do love). I wonder if we could have a warmer side that’s maybe more of a mountain spirit? I do have warm-leaning eyes and some warmth in my hair, but yes, the SA drapes turn me yellow. Even so, gold, brass, copper, and rose gold are better on me than silver or pewter, which tend to just sit there on me.

She makes an important point that applies to many Soft Summer. That warmer incarnation is certainly in my head, but maybe not always in my words and images. Something that comes up often for me is that I see many who are very borderline Soft Summer/Soft Autumn. They’re like the neutralest of the Neutrals, positioned almost even between those two Neutral Seasons. To see the eyes alone, you’ll pick the warmer Season for sure, except that the skin yellows with drapes. On these women, silver (not overly cold and shiny) and gold (not overly yellow and shiny) are about equal.

Soft Summer warms and solidifies significantly relative to True Summer imagery. In my book (over in the right column), we went from a lake to a forest. Hopefully, the Polyvores below portray that.

About shimmer, Paisley said,

As long as the iridescence doesn’t take the color too high, I think iridescent makeup is gorgeous on us. Also your makeup style depends on your Kibbe. Having been identified as a Romantic, I was relieved to read Kibbe’s recommendation that even daytime makeup should have some sparkle. I think very softly glowing making adds to the misty factor, as do finishing powders that are pearlescent. The point being to keep it soft-focus — it’s can’t go toward metallic in any way. But glowing and pearlescent is gorgeous on us, IMO.

And IMO, you’re exactly right, Paisley. I can not say it as well as a woman who lives it.

Seems to me that part of the shimmer, maybe all of it, is explained by the equiluminant property of this palette. Rendered in B&W, it would appear to be just a few shades of grey and much of the detail would disappear. Bring in colour and the combinations are pure melody. Everyone of the 12 Seasons soars depending on what you can do with it. For Soft Summer, it’s in the allure that happens when these colours are worn together on this type of colouring.

Why? Because vision in our brain operates on two parallel tracks. The colour system recognizes faces, objects, and details. The B&W system sees movement, depth, and position. In equiluminant compositions or outfits, the colorblind B&W track won’t quite be able to tell the location of the elements. But the colour track will see the elements well. This disconnect gives these compositions an unstable, shimmery, unearthly feeling. We talked about it in Part 1. Sorry for repeating, it is so amazing to me.

The SD body has presence. The horizontal shoulder line is substantial and the vertical line equally so. I am not a Kibbexpert, but narrow, petite, or slender wouldn’t be words I’d associate with Soft Dramatic. If someone picked those words for you over Amazonian, I’d have to wonder about another Image Identity. If you look at Images for Raquel Welch, she is luscious-yes, dumpling-no. Compared to other body types, these are a little burly. A lot of size, strength, and length in the upper and lower body.

Kibbe Soft Dramatic (SD)

  • broad shoulders, a strong horizontal line
  • a long bold sweeping vertical line
  • drape, flow, light fabric ; soft plush – so far, great on Soft Summmer
  • shiny fabric – for Soft Summer, this looks like the lustre of pearl and abalone shell ; go past it and your colouring will make the fabric shinier than it is and the fabric will make your face more muted

 

Soft Dramatic Soft Summer 1

 

 

Many Summers ask if they look good in pearls. They absolutely do, taking into account your body’s geometry. Classics wear the classic strand(s) better than one big-huge piece. Dramatic bodies need big and geometric shapes to include the necessary angularity that balances who they already are.

We’ve talked about what looks like black and white on you in Black and White for 12 Seasons. Once you learn to manipulate what you wear to look like B&W or black&red or whatever on you without actually wearing those colours, you have cracked the code. You can achieve any look without ever venturing into unflattering colour by knowing how your own colouring exerts influence over what you wear. How do you do this? Wear your 12 Season Sci\ART palette. Job done.

Mr. K talks about bold and dramatic colour combinations. Great. Use your palette and go wild. Don’t compare your bold and dramatic to how Mr. Spock would get there.

Contrast levels are high here. First, it increases the drama and boldness. Second, I’ve rethought this whole contrast thing – 3! videos coming up about that in another post.

 

Soft Dramatic Soft Summer 2

 

  • Head to Toe.
  • T shape with rounded edges, always the vertical and horizontal lines.
  • Luxe and glamour.
  • Colour repetition works well to give flow and continue a vertical line.
  • Not stiff, tight, shapeless, sharp of drape.
  • Lots of length. Strong geometrics with soft edges.
  • If you don’t like the muted purples, don’t wear them as clothes. But they make darn good eyeshadow.
  • Wear your hair colour on your feet.

 

Soft Dramatic Soft Summer 3

 

Enlarged the jewelry to be big. With her size and the very generous amount of Yang, jewelry needs to be scaled way up or she’ll dial it down into a dime store trinket.

For the day of the week you go to the office, not the opera, there are shoes here that won’t punish your back and feet. The guys wouldn’t put up with that. Why should we?

 

Soft Dramatic Soft Summer 4

 

 

Soft Summer Hair Colour

This came up on facebook but this is a good place to insert it. Whatever your Kibbe or Season,

When do highlights in the hair look right? When the distance between the lightest and darkest approximates that in the rest of the colouring. That’s how the hair can be a realistic extension of the head.

Summer light colours are pastels, more colourful than Winter icy colours. Also, their darks don’t get extremely dark. So there is not a big distance between the lightest and darkest colours. Soft Summer begins from a darker base colour position than the other Summers. Applying the pastel concept, their highlight will be darker than the other Summers too. Message for colourist: don’t overbleach or add back toners that are too light.

Use a taupe highlight, like medium mushroon, for a tone on tone look. The colour is in your swatches. It is cooler than it is warm. But be careful. Someone sees warmth in the eye and the very neutrality of the skin and overestimates the warmth. Soft Summer is often getting coloured way too light and yellow so the face goes oily and yellow. This is not a butterscotch light, it’s taupe.

Also be careful again. That dusty quality in the hair is essential to bring the roses out of the skin. I mean, essential. Don’t stare at your hair colour and not see the whole like we do. Don’t compare your hair to anyone except other perfect Soft Summer hair, like Princess Kate. Would she look better with saturated hair? No way. Highlights? Absolutely not to me.

Start with a colour a couple of shades lighter than the base, usually a medium ash brown And be careful once again. Chemical colour is often very saturated and looks darker than expected, like saturated cosmetics do. So you might even go a few shades lighter than the base to compensate.

If you can keep 80% of the hair as totally unprocessed, much better to give the skin harmony and perfecting potential that chemistry so skillfully removes with chemical pigments. Make highlights filaments, not chunks.

How about this?  Look at the before. Cooler than warm but not pure ash cool silvery brown. The highlights on the right side of your screen (not the model) are pretty good in the lower half of the hair. On the other side, the eye can get caught up on the too-light strands. Soft Summer’s total expression is Summer colours in shade. Still, those too light strands are at least cool beige, not platinum, not yellow or orange. The base is pretty darn good for a Soft Summer. I like it. (IDK if this model is a Soft Summer, it’s just about the hair).

 

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The Best Skin Finish on Spring Colouring

The surefire path to looking easily and believably beautiful is using what you have already as the mooring, and then adding more of it. Anchoring what someone else has into your own physiology isn’t nearly as convincing. To the viewer, this can feel like looking at a seesaw.

Where order and agreement exist between the elements of a composition (for instance, between your natural colours and those in your highly structured Sci\ART 12 Season palette), we sense harmony. Their relationships are visually interesting and appealing. More than that, their relationships confer upon the elements the ability to interact. This is visual magic. Now, appearance becomes scintillating.

However often an untruth is repeated, it doesn’t become a truth. When it comes to our appearance, others can tell the difference. They may not know exactly how we looked before we wandered away, but they can tell we moved farther from the starting point.

When you read what I’m about to say, we have to keep the following people out of your thoughts:

i. You – an unobjective situation if ever there was one.

ii. Your family – lots of history and emotional investment, not always a lot of reality going on, though can be a great place to learn to see apparel colours next to human colours.

iii. Anyone in magazines – make-believe worlds that nobody really lives in.

iv. Anyone under 20 – very pretty but have not reached full power in the face or mind, not the reality I want for you.

Of your friends and people at the office, whose appearance looks calm and complete when every hair is pin straight? You can almost feel the ironed hair groaning, Stop doing this to me. Let me out of this hair girdle, as if you’re the one getting ironed flat every day. Appearance empathy.

Highlights, bronzer, coloured eyeliner, dewy, glowy, metallics, the list has no end. Knowing which trend or look is for you is power plus – maybe because the other way round is power minus. The more people sign up for an idea or a trend, the more it can cash in for its brief stint in our attention. It doesn’t care if 8 in 10 look worse. It never cared about that in the first place. Its mandate was to rake in $$$.

The only people who should straighten their hair have 80% straight hair at the start and just need to seal the ends. Most everyone else just looks shorter. Flip up your eyeliner if your eye flips up, otherwise you may be accentuating that your eye doesn’t. If the eye line is straight, then continue liner straight a bit. Many eyes just stop at the outer corner and are a bit squared. They look better with no eyeliner extension. Like over-whitened teeth, that little difference is the edge between creating an appearance that makes sense and one that is confusing.

A Spring woman looks unsettled when she wears Winter colours. She looks more like a child, one who raided her parents’ closet, wearing clothes that look too big and too serious. In her Spring colours, she finally looks like an adult. Spring colours only look kiddish on non-Springs. In her light caramel, peach, and ivory, with sparkling light gold wire hoops from which dangle pieces of coloured glass that catch the light, she is the Director of Educational Development for her province. She knows what she came here to say. Her natural cheerfulness in no way detracts from her credibility. In fact, she was selected for this job because she is so clearly non-judgmental. She so sincerely sees the best in everyone that she brings great comfort to the assembly. She got voted Most Loved Principal by her students. Her workshops are so well-attended because people look forward to being around her. They can feel that she just plain likes them. Spring is the no strings attached person.

Spring shares with Autumn that its colours are very warm, but there ends the similarity. Even the type of heat is different. Spring is the yellow found in jellybeans. Autumn’ darker, richer gold colours make more sense as velvet drapes than jellybeans. Spring is smooth and shiny. Autumn is the queen of depth and dimension and we’ll talk about how to make that happen on a face in a later post.

Look at Charlotte’s skin, below. Spring fabrics have shine because of what shine does to colour. Shine can elevate and exaggerate colour. It can also lighten it. Those colours are in the skin too so it follows that we’d enhance them in the same ways, using the same shiny finishes.

 

 

Notice that when I add videos, there are two people to compare. Also, IDK what Season Charlotte is, she could be a Soft Autumn or some other. Some of her physical traits resemble Spring. Above, look at his skin compared to hers, it is gray and it’s red. Her hair colour is fantastic. Buttery warm and yellow, not the heavier moose brown of Autumn. The highlights are just that, threads of light, heat, and shimmer. That brown eyeshadow – would it look better gray? No. Moves me closer to considering a very warm Season.

Heaven love her colourist for not making her a beach babe. The hair is coloured but not a lot. It’s believable, friendly, open, not highly contrasting or serious, just like her presence. The upkeep is probably occasional. You can see the yellow in her eyes even from a distance. The brows are dark, which is interesting, with as much drama as the face and her position as an artist will comfortably allow.

 

 

Again, below, fantastic golden beige hair. See that she’s not yellow in this dress, most people would be instantly so. Notice the mesmerizing from-elsewhere eyes, they have an Avatar quality, as if descended from a golden, gilded world, the magic that is Spring. She sings with a smile, radiating the pure joy in the sound (many singers frown often, like it’s a job). Spring people seem made from the sun.

 

 

Here is another woman with many Spring attributes. Look how yellow her skin is compared to the other women. She actually needs to wear her Spring colours to not look yellower than her clothes.

 

 

Nothing should come near this skin, this person, this energy, that could dim its light.

Bring Out the Beauty of Spring Skin

When any drape containing Spring comes near the skin, even if the dose of Spring in the person is small as in Light Summer, or even if the drapes are not quite yellow enough, this skin visibly tightens, plumps, and looks reflective and moist. This happens just as much whether they’re 16 or 60. Tighter skin and easing of lines happens for everyone in their right colours, but I could argue that the Spring colouring takes more years off than any other.

Spring skin keywords: dewy, young, delicate, smooth, tight, shiny, and moist. Like petals. We’d all like to think we have petal skin but it’s not realistic so there’s no point. We’ll get to the other Seasons soon.

Spring makeup tips:

1. Try cutting foundation with moisturizer. You’ll look the same or better. Opaque coverage is never needed here.

2. Keep use of translucent face powder to a minimum, just enough so the next products can be blended. Matte and dry finishes don’t feel right for colours that feel like juice and cream. Even peaches manage to be velvety without feeling heavy.

3. Transparency, as sheer products, are much better than opaque ones with heavy colour deposits. What looks normal and necessary for colour to get noticed on Winter skin looks like house paint on Spring skin.

4. Uplighters, not low lighters! Choose slight shimmer of the finest grind and uplighting liquids. Think of Charlotte’s face. Adding shadowing products would look heavy and dull. Emphasizing the angularity of a young face never looks quite right to me. It feels old and solid and carved out on a very opposite type of energy. By using uplights, so light + shiny + colour (which isn’t the same as white + frost + icy absence of colour) beautifies the geometry of the face and keeps the vitality and vibrancy high, since Spring’s settings are up at the top on those scales.

5. Jingle, twinkle, sparkle, movement, and high shine – they look odd on a face, but keep them near the face with jewelry. Let the jewelry do what the makeup can’t reasonably do.

 

Light Spring

petals in hazy light

daisy to daffodils

more delicate and less shiny than tulip petals

peaches and cream

 

Photo: yenhoon

 

Photo: relliott3

 

For Light Spring, try

delicate peach-gold bronzer very lightly applied

milky colours, which look creamy, not wildly vibrant yet, as the top rose below

to reflect light, a surface must be smooth; make word associations, as milkshake colours feel smooth because milkshakes are smooth; creamy and smooth feel connected wherever our brain stores sensory data; creaminess of colours feels right

still some Summer here so keep a little haze with more powder and less bronzer

sheer and cream products, to create a moist and dewy finish as the bottom rose photo below; notice this isn’t icy, glitter, metallic, bronze, it’s just wet (kept within reason on a face)

lipgloss

uplights on cheeks using coloured (coral, light beige, gold), not icy, products; remember that Light Spring’s lightest colours are more colourful than Winter icy colours because they are pastels

eye shadow probably better light, sheer, and matte to recognize Summer haze

 

True Spring

juicy

shiny

transparent

 

Below, notice all the light bouncing off every surface. There are highlights everywhere. Surfaces are tight, plump, moist, with no associations of cold, hard, or frosty.

 

Photo: plrang

 

For True Spring, try

the least face powder of anyone, just enough to dry the skin so the next product doesn’t catch

gloss

cream cosmetics as for Light Spring

eyeshadow can be shiny or matte, your preference; matte is easier on mature skin

peach-gold bronzer, same product as Light Spring but using more of it to create a face that is very vibrant with the colours of health

 

Bright Spring

delicate shine

icier lights (more colourful than Winter but not soft/muted/grayed/dusty/heathery)

glassy

more contrast as Winter arrives

moist lips

The Birds In A Tree picture is smooth, light, shiny, crisp, tight, and clean, with significant separation between lightest and darkest. The overall effect is still warm, bright, and alive.

 

Photo: mckenna71 at ozaidesigns.com

 

On the cherries, the overall effect is darker and the placemement of highlight more strategic than the currants above. The surface is still round, tight, and plump and doesn’t need any strategic shading to make it better.

Photo: al71

 

For Bright Spring, try

sharper angles with more deliberate uplight placement along upper edge of cheekbones, browbone, and center of nose to sharpen the angles, not a warmth diffusion

lighter uplighters, not too gold/peach/caramel/yellow as Winter’s sharpening comes in

multicolours and colourful colours to keep the Candyland feeling of this colouring; peach eyeshadows, dark turquoise eyeliners, fuchsia lips (all from her Colour Book of swatches) together actually looks perfectly fine because that’s how her face is put together to begin with

you can’t put glitter on your face, but you can sneak a little in the hair depending on age and occasion; this is the colouring of figure skating outfits, after all; or just use jewelry, but sparkly sparkly, Swarovski, not pearl/coral/jade/turquoise which don’t feel glassy and twinkly

use glitter in nail polish but keep it delicate, like winking; there is huge delicacy in Bright Spring that more aggressive cosmetic effects don’t respect

more definition of features from skin (a form of contrast)

more distance between light and dark colours

———

Will the face look wet or oily? No colouring will in right colour because the whites that the colour brings out in the face don’t exceed your own. That’s part of the magic. When lights get lighter than your own, which can happen for a variety of reasons in wrong colour, there seems to be a random too-shiny white light bouncing all over, which looks a little greasy or sweaty.

What your makeup looks like in pans is only how you see it. The rest of us see it painted right on top of your own colours. When you and your product are a match, your appearance has rhyme and reason. I promise you, with only your empowerment in my heart, you look better than good.

 

Recap: The skin is dewy, setting up highlights. The features are fresh, lively, distinguished from the skin by being very colourful, moist, and vibrant.

 

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