Soft Summer colouring has more muscle than the other Summer groups. Colours are more solid. Texture is a nice way to communicate this man’s strength and add variety to a monochromatic look.
There is no reason to believe that foundation can be matched by Season, because the final colour is influenced by the overtone, the undertone, the idiosyncrasies of the face, the pH of the skin, and the list goes on for an hour.
She can be quite beige, with the milkiness of the skin. A monochromatic cream, beige, and light brown makeup palette can be gorgeous, effortless, the ultimate natural face that Light Seasons actually do well at any age (and Winters at no age).
Light Spring was looking all dreamy and holiday till I inserted that green purse. Is that item helping the nice feelings or is it taking over? Is everything around it washed out and falling back? That’s what a Light Spring woman looks like wearing Bright colours.
The analyst evaluates many markers, related to line, colour, and texture, and makes a better-than choice. The markers will not be the same in every face. A Dark Winter man may wear Bright Winter saturation fairly well if his colouring is intense, but his face might look very oily. Another Dark Winter man will lose eye energy in Bright Winter drapes but the complexion reflects light much the same between the two.
Eyeliner is important and you need one that allows you to wear a lot without closing down the eye size. Our makeup should be as much as us, not more. And not less, personal taste depending of course.
The overall picture is too dark. Bright Winter is significantly lighter than the other Winters. Although the darkness range is similar to that of True Winter, the global impression is definitely lighter. Many of these folks have medium beige hair and blue eyes. Even if hair and eyes are dark, there is a light-bright reflectivity in the skin. Too dark or too blue moves to gaunt very fast here. Black is not automatic at all. Very very unique type of Winter.
True Summer, like True Winter, isn’t an overly colour busy Season. In the Winter’s case, it’s because every colour is so much that one at a time is plenty. In the Summer case, there’s a tranquility, like a Japanese Zen garden. The softness of the colours means that they weave together more elegantly than Winter, but a hint of hectic or functional takes the feeling off track. Also no giggles, no sarcasm, no squirting (Spring), and no forcing, no pushing, no controlling (Winter). All is perfect and all will be perfect.
When you’re really close to the core colour, you don’t notice it on them. Like mulberry lips on Dark Winter, like blue anything on True Summer, like gold on Autumn. True Winter can disappear black so you can do things with black that would be more obvious on the other types of colouring.
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.