The Emmas Are True Springs Part 1

I warmly thank Maytee Garza of Reveal Style Consultancy in New Jersey for performing the PCAs for both of the women you will meet in these articles. Maytee’s work upholds the highest standard of colour accuracy, from which we all benefit. Also a thank you to both Emmas for permission to use the photos.

The picture of another person won’t help you find your Season. The variability in human colouring is too wide and the common key, hidden. But pictures are wonderful to help you visualize the Season’s special radiance and right colour’s ability to transport a face to a new, other place.

After two years of waiting to see this Season, my last two clients were True Springs. One was a 12 year old girl, choosing her colours nearly perfectly with the well-tuned colour pitch that children have, the second a 50 year old woman of Icelandic descent. Though I still learn from every PCA, True Spring skin was quite special.

Here is our first Emma.

The Draping

The first drapes we compare, of the 10 to 20 sets we will go through, are a set of 4, representing each of the True Seasons. I spend a fair time at the beginning of a client’s session deciding which True Season(s) I’m looking at, and which I can forget about. I’m also teaching our eyes what this particular face does in the presence of wrong colour, because they’re all different.

Usually, True Season skin is different from the outset, in that only one True Season drape of the four seems to flatter, instead of two, or maybe three, with the Neutral Seasons. The skin tone perfection demands absolute colour heat or coolness and it does not compromise, even at the earliest stage of the draping.

Describing my Icelandic lady’s draping: Weirdly, both Spring and Autumn seemed ok. I even had trouble deciding between them, which happens very rarely. Spring’s drape made the skin brighter and more evenly coloured for sure, nearer to the face that’s already wearing perfect foundation and concealer, the result we’re striving towards. The difference just wasn’t as obvious as it usually is. On all the Spring blends of my previous experience, Autumn’s drape was very wrong. Not so here.

Spring was better, but why the difficulty deciding that? Because I had forgotten the What Is Most Important rule. For True Spring and True Autumn, heat is most important in colour. Saturation, not so much. Lightness/darkness, a little more, a little less, fairly forgiving. When heat in colour is at the max, good things happen, whichever kind of heat it is. By that, I mean that Spring and Autumn have very different heat. Hold in your mind a buttercup (Spring) and a rusty nail (Autumn). Very different look, feel, aura, everything. Spring’s yellow, Autumn’s gold (darker, richer, greyer) both seemed far better than the pure cool choices.

True Winter and True Summer, I was very sure about…hopeless, ghostly, tired. Like Bright Spring, True Spring looks a bit dead in True Summer pastels. It’s dramatic. Why? Because now two colour dimensions are off. True Summer is max cool and pretty muted. True Spring is max warm and pretty clear. Many Springs are wearing Summer colours because they feel safer and buying pure colour is not easy to do, especially pure and light and yellow colour. In Summer colour, they age themselves tremendously.

Once the drape colours became more specific, it was easy to choose between Spring and Autumn. For me, the next revelation came when I realized that this was the first time I was seeing a person not becoming yellow in True Spring’s drapes. You can see that Emma doesn’t look yellow, and believe me, in True Spring’s test drapes, everyone else does. I had seen the easing of lines and luminous eye that a Spring blend will have, but I had to ignore the yellowing of the skin, teeth, and white of eye. In True Spring drapes, the skin colour is suffused with vitality and life, while it is bland and pale in the Spring Neutral Season drapes. In right colour, especially the bright clear orange-red, you can watch a bloom rush up into the cheeks and the shadows go away.

The Makeup

This skin takes a lot of colour, and noticeably yellow colour, to come fully alive. Cosmetic colour cannot be wishy-washy, not dusty (looks dead), not earthy (looks like a rug), and not creamy (cream-of-wheat face). This colouring is strong. It will fade Light Spring’s beige-pink lipsticks to make them paler, even greyish (because remember, Light Spring’s colours are a touch greyish from their Summer bit).

The misty sunbeams of Light Spring are not here. This is tropical colour. The lagoon, the Bird of Paradise, fruit punch, Kool-Aid colours, full on yellowed heat. True Spring’s pure, golded, ripe, fresh colour will be hard to come by in the earthy, flesh-toned world of the cosmetics counter. Not impossible, but it will take an empowered woman with a mind released from marketing chatter to make these choices. And like everything in life, it will take a few overshoots and undershoots to perfect. Nobody got anything right the first time. Your best makeup and hair colour are on the other side of your mistakes, not on this side.

We’re putting makeup on Cameron Diaz and Robert Redford here. Could be Amanda Seyfried and Wayne Gretzky, they’re pretty yellow, but not as yellow, probably Light Springs. As you see from the photos, not every True Spring looks obviously yellow. The majority do not. But the colours that work on Ms. Diaz have a good chance of looking glorious on all True Springs.

PCA is not about what you look like, it’s about how your skin reacts to colour, right? Ms. Diaz is the stereotype for the Season, our prototype to try and transfer data from. None of us can really picture anything on ourselves. It works better to visualize on someone whose skin acts like ours, someone in our Season. If you’re not sure about a colour, think of who you’d put it on – Diaz or Lindsay Lohan.

Most of the time, a Season makeup colour will be believable and attractive on every face of that natural colouring because the colours are chosen to be the same as those already in the face. These are the colours that could have just happened by themselves, indeed already have happened in the natural colouring. Every woman makes her darkness adjustment depending on intensity of hair and eye colour, rest of the makeup, comfort level, age, occasion, and complexion, but the colours always come from that Season palette.

Eyeliners

- MAC Duck and Uniform (a green)

- Clinique Roast Coffee (darker) and Brown Sugar

- ELauder Bronze

- Gray is brilliant in makeup but can be hard to understand and to find the one you want. If we ignore the dark, sharp, and blue grays and look for medium colours (since sunny gray will take some searching), Sephora 11 Matte Charcoal may be good. Many eyebrow pencils are grayed and Lancome Sable is a nice, soft one.

- True Spring can carry a lot of colour without looking parrotty, and navy eyeliner may work well. Clinique Navy is great, a bright, true navy. Turquoise is worth trying. The green in it may allow to belong even more effortlessly in a True Spring face where all the yellow has turned most blues to turquoise. No dark colour should ever be so dark that it appears to hold black. Light is supposed to come out of the Spring palettes, not be absorbed into it. The more saturated, darker Deep Cobalt is for Bright Spring.

Eyeshadow

- looking mostly for yellows, peaches, the colours of Rice Krispies and parchment. Colours for Charlize Theron, not JLopez. Not red or orange browns, but yellow and peachy, all the way to dark peach.

- ELauder Sandbar Beige, Riviera Rose, Wild Sable, and Cafe Au Lait, Ivory Lace, and Buttercream Double Wear. The Stay Bronze pot could be a good liner, but this stuff dries almost instantly and doesn’t move without more eyelid pulling than I want.

- MAC Cork.

- EArden Vanilla, Teak, and Wheat.

- Lancome Positive and Chic.

- Gray? nothing I loved. Gray is inherently cool, and I see it as liner better than shadow.

Blush

- clear, candy, lollipop, warmer than Barbie pink. No grayness (smear it on paper towel and wait 30 min. to check). Gladiola, not sweet potato.

- Shiseido RD 103, PK 304 (very nice).

- MAC Fleur Power.

Lipstick

- Lancome Rose Mystique is a lovely red in lisptick and gloss, may go on too blue for some. Revlon Love That Pink is good too.

- Lancome Jeweled Pink.

- Maybelline Color Sensational Hi Shine Coral Luster.

- L’Oreal Always Apricot and Charismatic Coral.

- Merle Norman Popsicle, Persimmon, SunKissed

- MAC Crosswires and Sheen Supreme Made To Order; See Sheer is a possible, similar but toned down from the discontinued Viva Glam Cyndi (and from the opinions of True Springs, too muted and brown – try MAC Ravishing instead)

- Clinique Rose Toffee (sheer), Ambrosia (more golden orange), Sugared Grapefruit (light)

Mascara

- medium to dark brown.

Important Heads Up

I haven’t applied the makeup above to any True Spring faces. I just went shopping with the swatch book. Buy nothing without trying it.

If you want colours from an artist who has test-driven the colours, be aware of Darin Wright’s fantastic products, custom-coloured for all twelve Seasons at eleablake.com. For tough to find Seasons like True Spring, this is one-stop successful makeup. The eyeshadows for True Spring look shockingly beautiful from the website.

In Part 2, the hair, the person, the look, and and our second Emma.

 

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Use of Images

The images contained in this article are of private individuals, not celebrities. I consider the permission for me to use them as a privilege. It is my intention to protect these women’s privacy and generosity. If you use any of the photos without permission, I will seek legal counsel. I do not want to have to reduce the beauty and detail of the photographs with watermarks.

This is a learning site. Please do use my words with credit back to the web page you copied and pasted them from. If you mix up my meaning and get the message wrong, feel free to omit any reference back to me.

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46 thoughts on “The Emmas Are True Springs Part 1”

  1. When I was reading the headline, I got curious to see another true spring (next to me – probably). But when I saw the girl my first impression was: muted, olive skin, typical summer eyes, yellow eye shadows. I have a friend and her colouring is almost the same.
    And she is a soft summer…and I’m sorry again, I don’t see a true spring, I see a summer.
    Maybe it’s the artificial light you are using but I feel like the colours don’t melt with her hair and complexion.

    here you can see soft summer compared to spring. spring makes her face yellow and dull, summer gives more balance and is related to her colouring:

    http://imageshack.us/g/89/emmasoftsummer.jpg/

    firefly

  2. Hi, Christine: Just want to be sure I’m clear…You’re saying Maytee did the draping for the two Emmas whose pictures we’re seeing, and then in between these pictures, you’re talking about a draping you did with the Icelandic lady, right? I got confoozled for a bit with the description in connection with these photos, but if I’m getting what you’re saying, I think your description is NOT of Emma in the photos but a different person, whose draping you’re describing to give us context…do I have it? Thanks!

  3. I think the sheer chromatic intensity of spring colour is the problem, here – true and bright spring have some seriously high octane hues, it’s like they’re performance vehicles of the twelve tones. Trouble is, these colours are hard to photograph – digital cameras are fabulous, but they don’t cope too well with contrasts and extremes. James Gurney, of Dinotopia fame, put this very succintly: “Cameras tend to distort light and colour …. (there is) loss of information because of the photosensor’s inability to respond to relative extremes of bright or dim light … colours tend to shift or weaken in chroma and become monochromatic. Subtle or close variations between adjacent warm and cool colours are often not registered. Weak sources, such as reflected colours from nearby objects, are often lost.” Keep this in mind when you’re looking at photos on these pages, and especially shots of the clears and the brights, who tend to hang out at the extremes of the histograms – what I think you’ve both spotted is a tendency for the camera tends to “grab” the drapes, cool them down a notch or two, flatten the adjoining skin accordingly, and lose a little of the facial definition seen in real time.

    The second point, and Christine regularly addresses this in masterly fashion, is that we have these pre-conceptions about what colours are found within seasons. We think that blue and red = winter, brown and olivine greens = autumn, but it’s not that simple – many seasons have their own versions of these colours. In photographs, the fine distinctions are never as clear as in real life, and that’s the trap. Ever ordered something online and been a bit startled by the colour in reality? Ever bought something from memory, based on that colour suiting your elsewhere, and been a bit disappointed? On such subtle distinctions does the truth rest.

  4. With all that in mind: I have no doubts, looking at these shots, Emma is carrying these colours with native aplomb, and that’s allowing for the fact that spring’s sunshine is hard to truly capture; less vivid and less contrasty seasons simple ax the software less.

    I’m so grateful for the clients and analysts who allow us into these intensely private and revelatory moments. Fantastic to see this elusive season so beautifully rendered!

  5. Having looked at what seems like half a million of Emma’s pictures, I am astonished at how beautiful she looks in what to me are obviously her colors (not the ones I would have guessed) and I’m reminded yet again what an accurate PCA can do for us.

    It’s not about what you look like, it’s about what you look like in the drapes. Also, superimposing colors onto a photograph does not force changes in the skin. Lastly, the client is entranced by what she’s looking at in the mirror. That only happens when the colors are right.

    So I do not doubt this result.

  6. (“simply tax the software less”, that should be … oh dear, it’s typo city, here …)

  7. Totally agree, Renata – Emma is clearly blown away .

    “And the end of all our exploring
    Will be to arrive where we started
    And know the place for the first time.”

  8. Emma is radiant in these drapes!

    I am a TSp and have found that MAC Crosswires is too neutral and pink for me. I feel it would be a better colour for a BSp. MAC Vegas Volt, a very bright orangey coral, is better, but best when diluted a bit with lip balm.

    Clarins makes a number of lipsticks that are good options for TSps. They do a lot of colours that are warm and saturated. My current go-to is Clarins Jolie Rouge Brilliant in Papaya. Look also at the colours Clementine, Melon, Grenadine and Orange Fizz in the various formulations (some are more opaque but the Rouge Brilliant is very sheer.)

  9. The True Spring drapes look fabulous on her. My favorites are the light green and the aqua. The red and blue are more dramatic, but would serve well as an evening look. About the yellow and brick brown detracting from her appearance, based on what I’m seeing those look more like the burnished warmth of autumn, not the yellow warmth of spring. So I am not surprised those are not her best colors. I agree with Renata’s comment that you can’t superimpose colors onto a photograph and expect an accurate result. Both color and skin need to be interpreted simultaneously to produce an accurate effect. That is how you have a reaction. You wouldn’t put real chocolate chips into a picture of a cookie and expect to have dessert.

  10. Always such good thoughts. And thanks also for the makeup recommendations and the sharp analogies.

    Christine – your colour preferences are towards melon, peach orange, coral, and I have no doubt they would be beautiful. I’m hoping for a run on True Spring to try them out. Takes a certain courage, I can only imagine what the women themselves go through. Do you know any very pure warm roses? I used MAC Fanfare ( a medium-deep yellowed pink, perhaps bit browned) on my Icelandic lady and I felt she needed more darkness of colour, more saturation, and more warmth. She subdued the colour down to a light-medium pink, a colour she could certainly wear but from which I’d go up in intensity, not down. And her hair was very pale blond from highlighting, paling the skin somewhat, so we’d need a good bit more lipstick brightness in a natural medium beige with yellow lights hair colour. I wondered about MAC Hot Tahiti. Ramblin Rose seems too brown. Lustreglass Venetian is said to be maraschino cherry, sounds possible. Please do send your finds and favorites.

    Ali – you do have it :)

    Firefly – well, there’s a couple of things.
    One is that I didn’t do this analysis, Maytee Garza did. We are talking an analyst who seriously knows her stuff, with huge experience. Everyone carries some chance of error, but speaking on a global scale here, no exaggeration, Maytee’s odds of a mistake will be the lowest around.
    I agree with you that Emma gives a Summer/Autumn impression, and no doubt Maytee saw that too, but found evidence that these are not correct. I try hard to put the non-stereotypic faces on this site to disconnect those impressions that we all get from the truth.
    From my own experience, I have seen many times the yellow-orange-brown smudging under the eyes become very obvious when a Light or Bright Spring wears Autumn drapes. Even when the Autumn influence is low, as in Soft Summer/Dark Winter colour, that effect seems common to Spring people in (correctly coloured) Autumn drapes. Seeing them minimized in Spring’s clarity is very consistent with what I already know happens – but I’ll sure admit that I didn’t expect Emma to be a True Spring. Without a correct PCA, she would have yellow smudging under the eye forever.
    Finally, we could agree that you put more stock in photographic colour testing than I do. I’ve seen that type of colour manipulation be right and be wrong. It can be helpful, as can lipstick testing, coloured cards, and lots of other indicators, but it won’t be right every time. It’s still just impressions, never tested in a measured way against real, live skin or a real, live face.
    What I appreciate most is that you, and everyone else, took the time to write your true thoughts and your willingness to have a conversation.

  11. On the pure warm rose front, Clinique’s Sugared Grapefruit is a candidate. I got this as a GWP some years ago and it became my everyday lipstick for several years. Might be time to rediscover it.

  12. PS Yes, on me MAC See Sheer was very brown. It is a beautiful colour but not one that I think would do a TSp many favours — I thought SA, immediately in fact.

    Just looked at Clinique website and wonder if Sugared Grapefruit would be too light to qualify as “rose.” I’m not sure if it’s been mentioned, but what about MAC Impassioned? However, your observation above — “True Spring’s pure, golded, ripe, fresh colour will be hard to come by in the earthy, flesh-toned world of the cosmetics counter” — is unfortunately very true!

  13. Hm, I don’t think See Sheer is very brown, though it might look that way on a TSp. I have heard a lot of Bright Springs like it, as well as a few bright winters…

    firefly, the methods you’re using to discount this analysis are outdated, so tired… I hope you won’t think I am being sassy here, but looking good is about how color reacts to your skin, not about how well they blend in with you and make you look like wallpaper. The brickbrown and yellow in her original pic look more like soft and true autumn colors to me, not spring. True Spring has a very specific set of colors– bright, clear, purely warm and rather medium in depth. The yellow is whitened and possibly grayed. The brick is just that– brick. Too brown-red. True Spring does bright tomato, not brick! So of course those colors are not her most flattering.

  14. Hi Lauren — Yes, I was so surprised and disappointed when I tried See Sheer because on the MAC website it seemed like what I was looking for. I am both yellowy and very fair, though, so possibly I am an extreme case — on a TSp with more natural melanin it might work.

  15. My closest season in Sci/Art is True Autumn, and See Sheer looks a fright on me! Very bright orange pink. I obviously need loads more brown in my lipsticks for them to look good on me. :) Hence why I say See Sheer does not look that brown… to ME. I suppose it must barely register on a Spring!

  16. all I can say is, that – to me – the true spring is much to intense for her. her face looks more relaxed if you cover the drapes with your hand while looking at the picture. but my other impression is, that PCA in the USA (at moment) seems to pursue different results than the one in Europe or Germany. everything has to be more dramatic. maybe as a reflection of mentality. “normal” is not enough. good is not enough. everything has to be “striking” – even if it is far from beeing harmonious or natural. I have seen many wrong results and drapings – autumns and springs made up as “true summers” and so on. I really think it’s a different taste of what is beautyful in your eyes. but when I look at old books from carole jackson I’m really fine with the results and pictures. so that’s why it is useless to go on commenting this blog. but as long as there are people who really like being transformed this way, good luck!

    firefly

  17. @ firefly,

    i´m in canada and in the usa almost every year. and i remember having seen there a lot of very classy woman tastefully dressed in perfect colors – and
    they have more choices in their stores than we have in germany.

    but i agree totally that they have a different style of selling their ideas or communicating in general.
    we germans and also us-american are always blown away by the relaxed and authentic friendliness of canadians. to experience this mentality is almost a little bit humbling for a geman like me. we can learn a lot, even from this website, even if we don´t agree with the results of the drapings.

    b t w. i like emma in her drapings very much.

    :-D

    strfee

  18. Christine, you once mentioned that TAs tend to look yellow until they wear their correct colors. Do you find this in TSp as well?

  19. Wow, I just noticed this, but when I covered up the drapes the dark under her eyes stood out more. It was the weirdest thing and perhaps just my computer or something, but kind of cool. The more I read and learn about color the more I notice how much it can really affect the way you look and how you feel. I have never noticed any of this until now, so thank you for such wonderful articles and the comments every one makes. I’m so amazed at the vast knowledge everyone has in this. SO impressive!

    My youngest sister thinks I put too much stock in color and how it affects people. That’s okay, I love to hear everyone’s view point. It really makes life richer and helps me see how others view life and color as well. I get a little frustrated some times with her though because she thinks I’m going a little over board. Do you guys get that too? Sorry, totally off subject. lol

    I really get excited though when a little flash of something stands out to me, or I see something that I never saw before. It is almost like searching for treasure and finding little clues and enjoying the scenery along the way. I seriously can’t resist the pull of learning something new.

    Great article Christine!

  20. Ashley,
    Actually, I find they look pale, greyish, ghostly, chalky, like that. And Autumn too.
    Autumns may look yellow as an overtone that it takes right colour to clear, but as I read that I said that, it’s interesting because where I see it more is in Dark Winter. If you ever see where you read it, send me a note. I wonder what I was thinking about.

    From Nynd, whose analogies and ability to clarify PCA teach me something every time,

    firefly, what is striking about your concerns is that in fact we’re all agreeing on Christine’s key point – whatever the archetype in our minds for True Spring might be (and it is interesting to consider what this is, and how it got there), Emma looks like she might be something different. It seems that she didn’t think she was a spring, and her analyst didn’t, either, at first blush. So your immediate impression is/was shared by quite a few people looking at this lovely face, and as noted, she’s struggling in autumn’s gold and dark reds in that first shot (good call, Lauren!). And yet she isn’t a soft summer, or whatever else we might have assumed from a simple headshot. She wears those spring drapes confidently, easily – they’re not wearing her. If she doesn’t look yellowed in them, it’s precisely *because* they’re working for her, not against her. Sometimes the incandescence is less obvious (and sometimes it is, as we see in the next article). That’s the trick. That’s the magic. The only way to work out what colours you can wear is to see what colours you can wear.

    And I guess the other point is this: drapes aren’t real world clothing. The process is inherently reductionist, designed to minimise distractions. These are strong colours in big blocks, shown under the chin (a neckline which doesn’t suit a lot of us, per se), and they are meant to force strong reactions – all the usual qualifiers of style are missing, and we’re looking at the naked now of pure hue, chroma, value and saturation/mutedness. In draping, too, you don’t see ALL your colours, just a representative sample, and while this sample may well be a generous one, there will be gaps in the narrative which your palette will fill (and you may feel a kind of colour claustrophobia if the drapes in your reveal aren’t necessarily the drapes you’d have picked off your fan yourself). The drapes tell us where we belong and where we can go, and they’re designed to rigorously elicit where these potential chromatic boundaries are, but out there on the street, the spectrum of your personal realm is even wider, and things like cut, pattern, neckline, the rest of the outfit, line, neutrals, textures, accessories and style personality all come into it, and it may be that you’re feeling the absence of all these things. Many people, too, like to base their wardrobe around their neutrals, and these tend not to be shown in these illustrations as the distinctions can be very subtle indeed (and thus illustrating them is less helpful).

    The interesting thing about PCA is that the right colours make sense on the right person, but not on the wrong one. What screams on me (a soft summer) looks perfectly easy and natural on a bright season, and a colour that dulls a bright spring or a true autumn can take on a kind of inevitable fitness on me. My soft summer palette is subtle, harmonious, discrete, and refined, but that’s on ME – put a dark autumn in it and they’d grey and wane before your eyes, And yet the brighter, deeper seasons often struggle with the intensity of their palette, at first, just as the soft seasons might feel starved for the saturation and darkness they’ve learnt to believe they should seek. And you generally don’t wear it all at once, either, though in theory I guess you could – it mightn’t be your best look, though.

    It’s all about embracing what works best for you. And you can’t do that until you’ve seen it by one means or another”

  21. I hadn’t thought of the drapes as color blocks. That really have my mind something to chew on.

    I have a question though. I have read and heard a lot about certain seasons being drawn to specific styles, fabrics, and accessories. Is this true, our does it really depend on ones personal preference? I’m a TA that prefers skirts and both light flowing fabrics and rich heavy ones. I also like a lot of creativity and personality put into my clothing. I have read light and flowing to be more of a summer preference and the feminine details being a spring thing. The rebel inside me says that is just silly. Is there any truth to those theories though?

  22. Melinda,
    May depend on who you ask and on personal taste. To me, there is a strong association but no absolute rights and wrongs. Certain colours make sense in certain textures and not in others. Fuchsia in tweed makes no sense to me. Plaid and satin don’t really either, depending on the colours and pattern I guess. Turmeric yellow and sequin seem off. A person coloured like a bulb garden looks odder in cactus colours and homespun muslin than she would in handkerchief cotton and tulip colours. Colour doesn’t exist alone from the perspective of our senses.
    Having said that, PCA is not there to restrict you and give you more rules. It’s there to give you a sense of your best. If something makes you happy, wear it. At the end of the day, you have to express yourself and we’re all multilayered beings with more to say than any one system can contain and still be usable by everyone.
    How do you mean, that the drapes as colour blocks give you something to think about? What does it make you think?

  23. Thanks for the answer, that makes a lot of sense when put that way. I think that sometimes I want to pull out a crazy color in some soft flowing chiffon and I can never find it. I suppose the simple nature of the fabric creates soft muted colors most of the time because saturation and depth on such a light fabric is difficult to acheive. Nature creates it’s own patterns. That makes sense, thank you. :o) I will remind myself that creativity can still exist in harmony with the simple nature of things and that kind of natural beauty will really create the feeling I want to achieve.

    For the color block thing it is so hard for me to put into words. When you said that they were designed to minimize distraction it kind of turned on a light bulb for me. It made me realize how every angle (the neckline of a piece of clothing), fabric texture (satin versus cotton), or color (the discription you gave on color claustrophobia was amazing) could affect how I viewed myself or others in a particular style or outfit. It explained to me why it can be so difficult to see the difference of color on myself and others and why starting with the most simple canvas to find the right season is so important.

    I’m still working on incorporating colors that I haven’t used since I was a child and so every bit of explanation into the world of nature and colors helps bring me one step closer to finding within myself that feeling of comfort and happiness that I haven’t been able to find before.

    I hope that all made sense….. lol

  24. Christine,
    Great article, very informative. Emma looks great as a True Spring!
    Are you a Soft Summer, Christine? I thought you were a Dark Winter. Have I missed something? Did you write about it somewhere?

  25. Ah… It was a quotation without the quotation marks. Sorry, I thought it was you Christine who said that.

  26. Thanks for all the great makeup color recommendations in the article above! I just have one question about one of the lipstick colors – it says Clinique Rose Toffee … but I am not finding that color anywhere … did you perhaps mean Clinique Rose Taffy (which I know is considered a sheer color)? I seem to be able to wear Rose Taffy very well. Also, are there any TSp out there who know of a good charcoal grey colored eyeliner and/or eyeshadow color? When I had my draping done, she used a neutral charcoal grey color eyeshadow as a contour and eyeliner and I’ve never seen my eyes pop so much before. The brown colors never seem to make my eyes pop. Thanks!

  27. Stephanie,
    I haven’t looked at those lipsticks for awhile, I’ll have to check. My list says Toffee.
    I love grey eyeshadow. I think it’s completely underused because women aren’t sure how to pick the right one. True Spring needs a yellowed one, but it’s hard to find. I’m not sure of a brand or product. I know more browns. If you’re on facebook, ask on the 12Blueprints Fan Club page. There are several T Sp and the ladies are great shoppers and very helpful. Lots in the Discussions too.

  28. I asked at Clinique about the lipstick shade recommendation Rose Toffee (sheer). They said there has never been a shade called Rose Toffee. There is Rose Taffy which is sheer and described as sheer rosy golden pink-soft shimmer. The color looks slightly coral to me, wonder if this is the color you swatched? But then I checked Luminosity website and it has Rose Taffy under SS.

  29. The colour I recall was for S Su. It was about 2 years ago that I saw it, so it may be long gone.

  30. Well Christina I got analyzed again. And I am a True Spring. And I am sooooo happy to have it confirmed because I always went back to it. It fits perfectly. I went into my closet to rid myself of non true spring colors and I had 1 PJ top so I guess I am good. Now I just need to add some more colors. I am so happy. Just I kind of owed it to you to tell you since I have been asking so many questions on your blog. :)

  31. Hey, good on you, J! True Spring is an awesome Season. Colours like no other.

  32. Another website said True Springs don’t have any pinks,just corals. Its this true? Because
    I was analyzed as a True Spring and warm pinks(coral pink,peach pink,warm hot pink,watermelon,salmon pink,even warm baby pink,etc) look great on me so I am confused lol.

  33. Maybe they meant you have warm pinks, not cool pinks, J. And that’s true. The colours you describe (maybe not watermelon) are variations of warm pink but in someone else’s dictionary, they might call the exact same colour some type of coral. Own the swatch book of the system that did your analysis. Stick with that. T Sp has lots of red family colours, whatever name someone wants to give them.

  34. Okay that makes sense I agree those warm pinks are actually just variations of corals. Thank you Christine :)

  35. I read somewhere that a lipstick called Siren by Revlon is a True Spring color. I happen to have it and I am wondering if this is true? Its a very bright orangy lipstick,and not muted like autumn. For me I treat it like a red lipstick because its dark enough for that nice red lipstick sort of look and not orange in a bad way,orange in a great way for me. I couldn’t believe how my eyes looked and my face looked when I put it on! I also tried Coral Berry by Revlon and that was pretty much my same lip color so I think this could be a good True Spring color for True Springs who may have lighter lips. Its not a light lipstick I just have really pigmented lips is all.

  36. Jkitten, both Siren and Coral Berry work for me too (also a True Spring). It’s funny to see something so bright in the tube not look particularly bright when it’s on the lips.

  37. Deana yea Its like optical illusion. I took pictures of me wearing it it really just looks like a typical dare I say pinkish lipcolor you’d expect someone to wear. Not the bright orange it really is. Thanks for confirming it for me :)

  38. “I wondered about MAC Hot Tahiti. Ramblin Rose seems too brown.”

    Hot Tahiti, I think, is also too brown. I think I’m some sort of spring (probably bright or true), and I can’t wear it without blotting. It’s more brick than coral, though it’s described as a coral on Mac’s website, whose color descriptions are moderately to wholly inaccurate. I think it’s DA or maybe a TA with darker coloring can wear it. What do you think of Revlon’s Tutti Frutti or Mac’s Korean Candy for a TS? I own the former, and it’s become one of my favorite everyday lipsticks.

    As for blushes, are there any other Mac ones good for springs? I like Fleur Power, but I’ve been wearing if off-and-on for nearly a decade and I’m getting bored with it. What about Peaches or Melba?

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