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Sharing A Colour Journey

Sharing A Colour Journey

access_time 2014/03/6 account_circle chat_bubble_outline 37 Comments
You are about to take a personal journey with Danish author, Anne-Cathrine Riebnitzsky. I know that many readers will find familiarity in her experiences and feelings. I am  very grateful to Anne-Cathrine for discussing personal colour analysis from the one side that matters most: the client’s.

I self diagnosed as a Winter in the 90ies after reading the book “Colour Me Beautiful.” I was 15 or 16. There were only four seasons then. My internal feeling was that I was a Winter. I was a bit sorry that the beautiful strong colours of Spring couldn’t be mine as well, but in my heart I never had any real doubts. A Winter I was.

I followed the idea of Winter to the best of my ability but gradually swayed in other colour directions too. The years passed and I thought less about colours.



The mistake

One day probably about 5 years ago, I tried on a beige item and noticed how my skin was completely even. Most people who knew just a bit about colour would often comment on my “warm green eyes” and I had begun to suspect that perhaps I was an Autumn instead. The beige colour had me puzzled … now I did not know what I know today. I was unable to see the whole picture. And moreover it turned out that I am one difficult woman to analyse.

This beige colour became the beginning of a long journey hunting for my true season. Here I discovered how much had happened to the world of colour analysis since the 90ies. I discovered Christine’s wonderful blog and many other sites. I became quite absorbed with colours as a new hobby.

Lesson no. 1: Even and “perfect” skin is not the same as your face looking like the colour you are wearing. Believe me – you will be misled if you go down this road. Even and perfect skin is something entirely different. It is you glowing in a way you had not foreseen, and unless you are fortunate enough to already know your colours you may actually never have seen this face before no matter how often you stare in the mirror.



The first analysis

I tried to analyse myself. That is really difficult to do. I finally flew to another European city to have an in person analysis. I was desperately hoping to be a Bright Spring. Those were the most beautiful colours to my eye at the time. Second would be Bright Winter. The worst would be Soft Summer because I couldn’t associate with the colours – though I actually owned numerous pieces that were soft.

The analyst was Sci/ART trained – this was the system that to my rather systematic mind made the most sense. There are multitudes of colours and many that suit us, but the whole measuring process is to my mind the key to opening the door of the vast house which is your season and which you will only feel at home in if you have in fact opened a house which is your house.

From the first four drapes it was clear that black and silver were best. There was no doubt I could wear black. This was something I had questioned myself, and I was glad to get this confirmed. We moved through the many drapes. I was difficult. Provoking a bad reaction to my skin is not easy. The warm drapes are the only ones were it is really easy to see. From there it is a slow game. We slowly exhausted the possibilities – almost all of them.

We actually ran out of time. But we agreed on Bright Spring – though one of the drapes was actually too strong and there was a reflection from the skin on my chin. I was happy with the result. And also quite aware that I had actually pushed for something which might not be the accurate truth. Unfortunately I had to fly back the next day and my analyst had an appointment so we were out of time.

Lesson no. 2: Make sure you have plenty of time for an analysis. Perhaps you are really easy. But perhaps you are not. It may take five hours. How long it takes is not important. Getting it right is important.

Lesson no. 3: Do not try to force your analyst or manipulate her. They are human beings too. Be accurate about this. Try to observe what really happens in the mirror – not what you would like to happen. Difficult, but necessary.




Correction by shopping

It so happened that I wore the Bright Spring colours quite well – however eventually my mistake caught up with me, as I bought a turquoise blouse which was an exact match to the fan – but which also shone off from the skin under my chin. Exactly as the one drape had done in the test.

I was back to square one somehow.

Second analysis

I flew to another European city to have my second test. Also by a Sci/ART analyst. I told the analyst in advance of my previous history. She sat me down and looked at the first four drapes. I could still wear black and silver equally well.

Here is the hard part for you: If you were an analyst and a client walked in and said that she had discovered she wasn’t a Bright Spring after all, where would you go? What would you assume?

This analysis moved forward speedily. Very fast – faster than I could understand – I was a Soft Summer. The season whose colours felt most wrong for me. But I had promised myself not to try to sway any analyst ever again. I had promised my self that whatever the outcome I would try it, live with it, and do my best to accept it.

The worst part of this analysis was that I didn’t see nor understand what the decisions were based upon. I couldn’t in any way see how those drapes enhanced me. Only the last two drapes could I see. The pine green was actually intensifying my eyes like it is supposed to. The dark blue did something to my hair.

The whole thing took less than two hours including makeup. Off I was and the analyst went on to the numerous other clients at hand that day. I went outside into a park and sat down and cried. I know it sounds ridiculous and that this would probably not happen to you. You would have walked straight back and told her to redo the whole thing. Well, I didn’t. I flew home and lived in Soft Summer for 18 straight months. I hated the colours. The compliments stopped. I felt kind of depressed. But I am a diligent person. I am a perfectionist and I actually do not care what I have to put myself through once I have decided upon something.

It was incredibly difficult for me to make an outfit work – though it is supposed to be easy in this season where the underlying grey combine all the colours. It was a struggle for me. I had the palette lying open on my desk to try to get to know and like the colours. I could get myself to like the darker colours, but the light ones didn’t mean anything to me.

Lesson no. 4: You should not have to struggle so hard! Some may be surprised by their palette. But really – if you have tried living in a season and it still feels wrong, then there is probably something wrong. Colours are energy. If you live in the wrong house it is going to feel complicated hard and wrong and probably depressing. I am not with the people who say that this is not exact science. Well – in a way it is. Colours can be measured quite accurately. And you should look more than just “kind, relaxed, well” – you should look remarkable.



Elea Blake makeup

I bought some of the make up for soft summer from Elea Blake – here I received the first confirmation, that Soft Summer might not be true after all. The darker choices in eye makeup were fine. But the skin make up was a puzzle. None of them worked. As in NONE. They all looked like something that had been smeared on top of my skin. They would not blend.

Knowing that Dark Winter and Soft Summer can sometimes share some colours I bought some small samples of DW makeup. Those worked a lot better. This new information rumbled in my mind.

Lesson no. 5: If you really are searching for your season and you truly cannot in anyway find the means to go and have a test, then see if you can narrow your options down. Write to Elea Blake and order the small samples of skin make-up. It could give you a good hint. I believe it is more accurate than lip draping. These products are very precisely composed. My personal belief is that at least 3 or 4 of the skin colours should suit you if you are in that particular season. I may be wrong, I am no expert – this is just my own personal experience.

Sitting next to a real Soft Summer

In the summer 2013, I participated in a congress for creative writers. I remember this moment distinctly. I was sitting next to a woman with silver hair and beautiful hazel eyes – quite like my own. She was the most stunning person in the room. We all looked at her from time to time. Never had any silver haired woman in her 50ies looked so beautiful. We were many young people – but none as beautiful as her. I knew she was a Soft Summer. She wore Soft Summer. She had never been analysed but she knew her colouring and she combined them in a way that could not possibly have made me look the least bit interesting. I remember the exquisite earrings in green and purple mother of pearl, her lilac blouse, the soft pink lip. That did it for me. I was no Soft Summer no matter how hard I tried.

On line analysis

During my whole journey I had two online tests where I sent a lot of photos – one said Bright Spring, one said True Summer bordering with Soft Summer. The latter was followed by a makeover done on a photo of my face. I strongly disliked the look of it. I had no idea who the woman on the photo was – I understand that the photo to begin with was me – but I couldn’t recognize the woman as me.

Today I look at the questionnaires that were designed to help those analysts make a decision. Well … let it suffice to say I cannot recommend it.



Giving up

I gave up on the whole thing. I couldn’t work it out. It was a relief to put on a black T-shirt – both emotionally and physically. I believe most people actually can feel the effects of colours. Even hospitals use colours.

I went with what I felt, bought a Dark Winter fan and noticed a big improvement.

A small miracle

By chance I noticed that one of Christine’s newly trained analysts was a Dane. I had seen her name before and contacted her via Facebook. I warned her that I was difficult to test and that I didn’t know which way to go now. Except I probably was some kind of Winter. At least some kind of cool or cool-neutral season. Or perhaps I was something else. Probably not a warm.

We agreed on a date. Anette was eager yet admitted being a bit nervous since I would be one of her first real clients. She said I wouldn’t have to pay if we couldn’t figure it out – which was nice of her and took some pressure of, though admittedly by now my life had changed so much that the cost was less of a concern.

Third analysis 

Anette had blocked the whole day for just my analysis. She said she was looking forward to learn too.

The draping began. I was fortunate enough to not have any trace of colour in my hair (I have always found it difficult to strike anything that would look natural).

The first four drapes showed what I already knew. I could wear black and wear it remarkably well. Warm colours were not so good. I actually felt unwell wearing those colours. We made due note of what bad effects looked like in my face.

I have many different colours in my eyes. I have dark hair. I balance a lot of dark and cool colours. We moved forward slowly. I had explained that it was vital for me to understand and see with my own eyes what was a good drape and what was a bad drape. We got rid of the warm seasons quickly. The obvious ones. Then we moved on. Anette kept saying – well, this is not bad, but I believe you can look a lot better. This hope carried us on and on and on.

The biggest surprise for me was that beyond the true warm seasons, my worst colours were from Light Spring and Light Summer. There were a couple of turquoises there that were so harsh and strong and “unbelonging” on me that it took me by surprise.

So what about Soft Summer then? Well this is actually not my worst season. I completely understand that I could be put in that season though it is very far from what I really am.

Once we finally moved into the 3 Winters we knew we had it. My eyes cleared. I did not know that the white in my eyes actually can become really white. I had not seen this for so long I thought it had disappeared with age. The bit of my hair that was visible shone with a depth that was really becoming. Winter it was. We just didn’t know which one. It was very difficult. I span a lot of colours. I span a lot of coolness.

By comparing all the blues we finally discovered that it was not Dark winter. I became slightly fussy around the chin. So more colour then. More intensity. Though DWs reds were beautiful on me.

In the end we settled with True Winter, but not entirely sure. We decided I would have to come back another day. We were both exhausted. It had taken about 5 hours.

I drove home excited. After all this was actually still a huge success for me. I was now down to two beautiful seasons which I both really liked and which also made me look more stunning than I had seen in years.

Lesson no. 6: There is no such equations as “I look terrible in Soft Summer ergo I must be a Bright Winter.” You worst is not necessarily straight across the wheel of seasons. It could be only a few seasons away.



Second visit – the final result

I lived in and with True Winter. Colours that are hard to find when shopping, so I didn’t find that much new stuff – but clear white was easy to find and really good. Black was good. I dyed some old faded jeans and some old dresses. I knew enough about material from reading Christine’s many articles and from intelligent people who comment those articles, to know that cotton and soft fluffy surfaces weren’t going to hit it right with a Winter – but the black jeans work well. I never really liked cotton much anyway – it is easy to wash, but there my interest stops. Cotton fades really fast compared to plastic, satin, silk and shiny leather.

Black mascara was good. Again I had really good help from the little samples from Elea Blake. Unfortunately I had only ordered True Winter – but still this helped. The samples of skin makeup and lipstick were a great help. I noticed that some of them turned me a little pale and “deadly grey” around my mouth. A sign that these colours might be a bit too cool. Anette wrote to say she had noticed a bit of quietness in the true winter drapes which she wasn’t sure was right. But then we had a few of the Bright Winter luxury drapes that we were not entirely sure about. Were they too much? Too warm? Anette and I wrote many emails back and forth.

Anette and I had not had time to get around to makeup during the draping session. For the next visit I decided to wear mascara and my usual eyeliner which is black. I know it may sound hard but black doesn’t look hard on me. It is the only colour that doesn’t turn the lower rim of my eyes red.

The makeup actually helped in this case. It also helped a lot that we were now down to two seasons – our eyes were fresh and ready. I was a Bright Winter as I had slowly come to suspect.



There may be many more Brights out there who like me actually do not look too bad in colours that are not theirs. They just do not look as smashing as they would in their true colours. I think the reason is that Bright can take so much colour – and therefore you would have to be severely off on more than one dimension to look really bad. But I also think that these are the seasons who more often than not look a lot less beautiful than they could.

Looking back I now understand why evening gowns always have been so easy for me. 1. I would never go to a big party without makeup (and makeup greatly enhance winters). 2. Gowns are often in bright colours and often in shiny material which is a real winner on me.

I am still adjusting. I am still feeling the energy of this season. But I have come home. I got to see with my own eyes what my season really is. I understood what I saw. I love the colours. I also now know that there are colours out there in the world which are brighter than any human colouring – but 99% of the time I have to focus on getting the colours bright and clear enough. I have come home.

I remember how Bright Spring always made me feel a bit exhausted – like the energy was a bit too high for me. I felt a bit serious and stern in True Winter. Bright Winter is wonderful. It is enhancing, asking me to be what I am and to not shrink back in fear. Bright Winter is asking me to be bold, to be me, to be all of me – and in doing so allowing others to be all of who they are.

Sometimes I am wearing an outfit that is not quite enough. Not enough sharpness of colour, not enough contrast. It feels a bit boring, a bit like “come on you can hit the mark, so be your best” – so I make adjustments. It is not at all difficult for me to combine these colours. Not at all. It comes naturally. Black pants and a blouse in a strong colour – easy! Lipstick, black mascara – easy.

I use the advice from the article about the makeup for Winters. I don’t fade or remove anything till eyes, lips, and blush are all there. I do my shopping carefully. I make a list of what I need and I do not compromise – not in colours, not in lines. It is not that hard really. It just takes a bit more patience than what is natural for me – but the effort is well worth it.

37 Thoughts on Sharing A Colour Journey

  • "; ?> Laura

    Thank you to Anne-Cathrine for sharing her story, it’s very interesting. She is one determined woman! It’s wonderful that she has found her colours and feels so comfortable and ‘right’ with them. I was caught by her reference to the surfaces of the clothing, she clearly feels very much attuned to that aspect of her season. It’s still a challenge for me to feel that level of comfort with the light, bright, sparkling side of things as a BrSpring. Yes, Christine, I’m still not there yet 🙂

    It must be very very satisfying to have played a part in the successful conclusion to Anne-Cathrine’s search.

  • "; ?> FrancaB

    A very interesting journey: thank you Anne-Cathrine for sharing! You are a beauty!
    Your story brings to mind the many questions/thoughts I had brewing lately from reading other people’s experiences with color analysis and from perusing this very wonderful blog (Thanks, Christine, for the work and love you place here)!!!
    I (maybe erroneusly?) suppose that each drape will tell the analyst and the client something. Some colors will tell more and more clearly about what you are/aren’t, others might give a confusing message, but still. While I wouldn’t want my analyst to base the output of my PCA on just a few preliminary drapes, I wonder why the information in those first black, silver, gold and brown drapes seem to be forgotten so easily. I think those colors carry a lot of information, don’t they? In all the unsatisfactory PCA journeys I’ve read about, the wrong seasons that were previously tagged to the client were in obvious contrast with the information provided by those first few drapes.
    How is that possible? How can a person look better in silver and black end up in a warm, quite light season? Wouldn’t that prompt the analyst to double check her/his diagnosis?
    Anne-Cathrine’s story is also interesting because it shows how the interaction (or lack thereof) between analyst and client can skew the analysis – either by pushing the analyst too much towards a desired result, or by not voicing possible doubts or requests for explanations…
    I would really like to highlight the fact that clients and analysts can bring to the table different assets: the analyst has (hopefully) the competence of a trained eye (knows what to look for and has the tools to do it), but the client has something very, VERY valuable: time. Time that in my opinion could be used BEFORE the PCA, and not just after (when the client usually tries to “settle” with her/his colors, and assess her/his mid-long term reaction to the ascribed season). Time to test drive a few, easy to identify colors (Buy test driving, I don’t mean self draping from the client’s part, but encouraging the client to live with a few, easy to identify colors for some time, asking them to note down how they felt about themeselves while wearing those colors: if they were satisfied with their image at any time of day, even/especially if tired and with faded make up ;)). Just an extra piece of the puzzle that could add to the discussion, and that may be discarded but always explained during a PCA. I know I will want my analyst to do that – when there will be one available in my country ;)!
    I am also curious about Anne-Cathrine’s interesting observation about the fact our worst colors could be potentially lurking not too far away from your season…do you any observations on this topic?
    Sorry for my uberlong comment! Thanks.. and have a great week-end, everyone!

  • "; ?> Corinne

    Wow! Stunning in those drapes. It is very generous of the author to share this story, but I am struck that it should not be this hard to get an accurate PCA. Two incorrect Sci-Art bordering on three had the analyst not taken so much time. How many women can fly around for analyses. How many analysts can block out entire days and spend so much time on follow up? Something seems very wrong if it is this difficult to come to a conclusion.

  • "; ?> Francine

    A fascinating story. I don’t think I will ever have the color sense that Anne-Cathrine has; she looks beautiful to me in every one of those photos, but I suspect that some of them are intended to show the “wrong” colors. That yellow drape, for instance: it looks autumny to me, but then again it is bright. It would help if you added captions to the photos in your blog postings in general. I have this problem with them a lot: is this supposed to show the right or the wrong colors on this person? Is this an example of true winter colors in nature or the opposite?

  • "; ?> Kirsten I.

    Anne-Cathrine’s story is fascinating, and so are the photos of her. She looks good in every photo, even in the medium brown, although her face is not nearly as distinct there. Her appearance in beige is really interesting. The lightness and softness of the neutral seems to cast her face in relief. That photo looks almost like a painting. But she looks most three-dimensional and alive in white, black, sapphire, and rich golden yellow. The yellow convinces me she’s BRIGHT and it’s surprising, but I understand Bright Winters can wear it. I’m glad she found her Season and it’s really not so far from her youthful self-analysis. She thought she was a Winter, but she was attracted to Spring colors too–and now she has come full circle.

  • "; ?> Corinne

    This post raises a question I have had for a while. How much reflection under the chin is ok? I have seen some result photos on this blog where the drapes are clearly reflecting not only under the chin but onto the sides of the lower jaw, and yet they’re presented as the unveiling of the correct season. How much is too much?

  • "; ?> AC

    Laura, Francine and Corinne – thank you for your compliments.

    Corinne – you are right; something is wrong, but the “something” is that not all analysts do a good job. And not all of them agree what “beautiful” and “best features” are. There is no way the business can be policed (you can get bad haircuts too) – but a higher degree of openness is something we should aim for I think. I am sure most women are easier to colour analyse than I am.

    Photos and colours:
    1. Bright white – it is TW white, but a colour I wear really well. So not 100% perfect, but 98% and so close it doesn’t matter.
    2. Black – this is a prof photo used for my books. The make up is in fact too warm, but I am not sure we can actually see that. Black is good – but IMO not as interesting as the electric blue.
    3. olive green jacket – this is definitely off balance for me. The photo is taken from 1 or 2 meters away, so further away than the other photos, but notice the line on the forehead? The eyes are difficult to see, the skin seems a lot thicker. Teeth are yellow. You could say I look “natural and relaxed” – but if you compare with the other colours I think it is fairly easy to see that those colours are “more me”.
    4. “dirty white yellow-ish” patent leather jacket. The colour is soft summer, the shine is bright though. I still like the jacket – colour could be a lot better, but I will hang on to it for a while probably. I think I look fairly natural and okay – but compare it to the blue colour below. So the white-yellow one is not bad, I don’t look bad in it, but it isn’t exactly very memorable.
    5. Electric blue drape, BW – this is as far as I understand a very hard colour to wear. It will dominate anyone but a BW. Yet you see my eyes clearly.
    6. Yellow drape, also BW – one I was very insecure about, which you may guess from my expression. But once I saw the photo I noticed the yellow in my eyes. I am not sure I would own anything in this colour, but I can wear it.
    7. My eyes – peeping out of hunters gear. No make up.

  • "; ?> Jessica

    What a striking woman!

  • "; ?> Corinne

    Anne-Cathrine – thank you for these additional comments. The bright gold drape really is stunning on you. I still cannot get over the difference between the muted photos and the BW ones – I would not think this was the same person.

    Your comment about analysts agreeing on what is beautiful is an interesting one for me. One of my analyses (I had three) put me in the very opposite season of the one that I am. I can see in retrospect how maybe the heat level was ok (both neutral-warm) but one of the things that made me angriest about that one was that I felt like the person didn’t get me, they didn’t see me. I have been intrigued by one of the posts on Rachel’s blog where she shows how the right colors transform our perception of the person and draw out their inherent geometry. Maybe this is the way forward. Maybe knowing about color alone is not enough.

  • "; ?> AC

    Corinne – I am sharing my story because of people like you and me, who go through 3 different analyses. And I can certainly relate to the feeling of not being seen as what and who you really are.
    I think that getting the heat level right or close to right – like you explain – is such a change for the better that it may often appear right. In my case a BW coming out SSu – the heat level close to right, both neutral cool, and Ssu is darker than LSu and I look darkish. So I understand how it happened. But in the end SSu kept feeling so wrong and so depressing.
    I think Christine has done a great work in explaining how SSu colour shouldn’t look dull under a SSu face and how bright colour doesn’t look overly bright on bright season people. The “What is takes to look normal” article was great for me. I still believe it is possible to drape your way through it. And I will recommend Anette Henriksen in Denmark any day. But this industry will for a long time be subject to the many different interpretations out there.

  • "; ?> AC

    BTW you said you wouldn’t think it was the same woman. I agree. It is the difference between “lights on” or “lights off”. The difference between right and wrong colour. That is what the difference looks like in/on me.

  • "; ?> Ashley

    “This post raises a question I have had for a while. How much reflection under the chin is ok? I have seen some result photos on this blog where the drapes are clearly reflecting not only under the chin but onto the sides of the lower jaw, and yet they’re presented as the unveiling of the correct season. How much is too much?”

    I second this. For some of us, reflection is just going to happen; I even get it in fan-matched Soft colors. I can’t go any more muted than that, so there must be some leeway here.

  • "; ?> Monica

    Sorry, I just don’t see what others are seeing. Goes to show how little I’ve learned after years of reading this blog. To me, without a doubt, she looks most gorgeous in the third photo (Dark Autumn?). While she is clearly a beautiful woman, the colors in the last two pictures look to be wearing her rather than vice versa.

  • "; ?> Daenerys

    I´ve no doubt such a beautiful woman is a BW seeing her in the electric blue drape! She is gorgeous.
    But I´ve a Q. Why is the yellow drape in the pic a cool color and it´s for Winters if it looks so warm? If I were shown this drape, I would say it is the quintaesential of warmthness; I do not see any coolness on it. So, why is it Winter?

    • "; ?> Christine Scaman


      You are so completely and utterly correct about those first drapes. We take 20 – 30 minutes with those alone, NOT voting, but gathering information about the face. Each one shows things we like and don’t like in how the face reacts. I lost you when you asked how silver and black could be better but the Season outcome be light and warm. BW is medium dark and far cooler than it is warm. Sure, the analyst would be careful, but BW is a very different Winter. Also, as the draping proceeds, the client would either look better in Winter than Summer, or at least equal, so neither is disqualified too early.

      The yellow drape – first problem, you’re looking at a photograph, so the colours have been altered (usually by muting and affecting heat) at 4-6 steps of software. Second, unless you were in the room with your own eyes and unless you saw the comparisons, you can have no idea which choice was best. Also, BW is a very sensitive colouring. Unpredictable. Meaning that for all Seasons, the drape sets don’t necessarily have that person’s ultimate red or green or whatever, though that overall Season remains their best, hands down. Analysts are not going to have or need the perfect blue, red, green, etc. for every person in that Season as long as they understand how Better Than decisions are made. BW is especially touchy. I see a BW who is quite cool and near TW, and yet that yellow drape is among her very best. I see another who is closer to B Sp and the colour wears her too much. Very intricate analysis, the BW.

      I don’t use captions because nobody can correctly interpret photos for colour on a screen to begin with. This is very much not where I want the emphasis placed in these stories. The pictures are just getting to know a person, not intended to be a lesson or demo of how a PCA is performed. It’s inevitable and understandable, but not something I want to encourage. If I couldn’t draw correct conclusions, others wouldn’t either, as Monica attests, and I am explaining concepts for which the only honest answer is, “You have to be there.”


      You bet it shouldn’t be this hard. However, until we talk about the issues bravely, fairly, and honestly, we can never fix them. We are so much further than we were even 5 years ago. Analysts are trained in small groups with rigorously consistent methods. Drapes are also very controlled, tested, and consistent. It’s all moving forward very fast. We started with a genius of a system that really does work, and now we perfect it.

      Ideally no reflection. Reflection is usually the body’s way of saying “this isn’t me, you can have it back”. We all have a native shadow colour and if it’s distorted by being next to non-native colour, it reflects. Exception can be Summers, but there reflections are flattering and more beautiful, not odd.


      Winter’s are the palettes where the primary colours are found. Even TW has a yellow, which is a bit green, since enough blue must be added to cool it. BW removes some blue, adds yet more yellow, so the real primary colours. When tested, this yellow contains the 3 colour dimensions that fully satisfy BW – high sat, cool-neutral, correct value, perfectly harmonizes with the palette. As a huge block under the chin, it will be a little yellowing to some BW (not all any means), but it always elevates the eye colours beyond what TW is capable of, moistens the complexion, and creates the best focus for the lines and angles of the face.

  • "; ?> Corinne

    Monica – I think your view demonstrates that color analysis is always going to be somewhat subjective and arriving at a point of view the analyst and client agree upon. I showed this post to my husband and he agreed with you. He thought the photo in the leather jacket (I think the fourth photo from top) looked the most ‘beautiful’ and realistic. He said that with the BW ones, when you took your make-up off at the end of the day you wouldn’t look like the same person, whereas the SSum (I think?) was just a slight enhancement of what is already there. True, and yet not ‘switching the light on’ as AC mentioned above. Which is better? Not sure. I guess it’s up to the client and the image they want to project, and perhaps what resonates with their personality? I don’t know, just thinking aloud here.

  • "; ?> Ineke

    Thank you for sharing your story!
    My main problem is this: three PCA’s……three Sci/Art trained consultants……three different outcomes.
    This is what seems to happen to a lot of persons. Get ten different PCA’s, and you’ll end up with ten different conclusions. This could be understandble – somewhat – if we are talking different systems, but here we are talking about Sci/Art. This shouldn’t be happening.
    Especially because Sci/Art claimes to be scientific. They meassure, so it’s not an artistic impression of you. It’s all very disappointing.

  • "; ?> FrancaB

    Hi Christine, thank you for your answer.
    My question was referring to the fact that during Anne-Catherine’s journey, it seems that each time the analyst agreed with black and silver being the best drapes, but the first analyst eventually went for Bright spring, which is a neutral warm season. I was also reminded by Rachel’s own journey, where she was first assigned to light spring despite silver and black being her best…. In both cases, I would have expected gold to show up as a very good option (if not a downright better one) with respect to black and silver…
    In my comment I didn’t discuss Anne catherine pictures, so I am not sure I understand your answer – i think Anne Catherine looks beautiful and empowered in her bright blue and yellow drapes. She also wears Khaki well, but it is true that her features seem less defined, and her eyes and complexion look “dimmed”… I am happy for her she found *her* season, she’s rocking it!

  • "; ?> Daenerys

    I understand. I asked this yellow-Q because I´ve got a sweater that is that yellow or a very close one, and it´s one if my wow colors! When I first put it on me, my hair turned dark and rich, and I could notice it. But it misguided me, because I thought being good at that yellow mean I was a warm season and there was no chance of being cool. Now I know color is more complicated than that, and I´m suspecting I´m a Winter, after all.

  • "; ?> Trisha

    I have found this so fascinating, like many others! I wonder if the green eyes, especially as they have some (what looks like) gold/amber in them, threw one or two advisors? I feel the gold stands out as too warm, but the blue, which is better, is still a little too cool. But then what do I know; still trying to get an accurate picture of myself, despite several paid attempts to find where I slot. I sort of accepted I was a Deep Autumn when done by CMB a few years ago, but avoided the warmer end of the browns, greens and golds – the deep aubergines and greyer greens feel much better and many people said I looked ill in the former colours – a shame as I had invested in a lot of new garments in those colours, being told they were “right”. I now find myself (at retirement age) cooling in the last year – the brown has gone from my eyes, leaving them grey/green with gold centres (never seen any grey in myself before and this feels odd), although my hair is still dark brown, the red lights are going too and some grey coming in, which I overdye a bit lighter brown). I asume this means I’ve gone across to a cooler group, as I can now wear silver jewellery for the first time too? Can anyone recommend a really good counsellor in Oxon/cheltenham/Bristol area? Preferabaly one that uses Christines methods and not online, which I question the accuracy of.

  • "; ?> Ally

    I think it’s especially interesting, what she says about BWs looking okay in so many other colors because of their saturation tolerance; Christine, do you have a comment om that? I’m a BW myself and noticed it, but figured it was true for everyone.

  • "; ?> Ally

    Also – I thought TW had the primaries, and BW’s are a little warmer?

  • "; ?> Janetto

    My thoughts are the same as Ineke’s.

    And I realize that all computer monitor’s reflect colors differently, but Anne-Catherine looks pale in the blue drape with her eyes being the lesser focus. However, in the yellow drape, she comes to life; no sharp harsh shadow under her jaw; and her eyes are the first thing you notice about her. It would have been wonderful to have seen her in the drapes without any makeup on.

    • "; ?> Christine Scaman

      All of your comments are very colour perceptive.

      Trisha – you’re quite right, in the photograph, it looks just as you say. Standing in the room watching it, it all would look quite different. It’s good to remember that the test drapes are intended to measure you, to be better than any other group of colour dimensions, and to force some tolerance extremes so the analyst can make a decision. They are not intended to be your perfect vision of yourself. In a given Dark Winter set, not one of the colours is necessarily my best version of that colour, it’s just better on me than any other Season’s version. Another DW would react differently. In BW, you’re playing at even higher colour sensitivities, in my experience. Same game, just finer tuning. About an appt in the places you mention, hold that thought for a month or two and don’t do anything. I may have a solution.

      Ally – I have learned in making drapes how easy colours can belong to one Season and yet be very well tolerated by another. Dark Winter and Bright Spring could wear the same medium value greenish-blue or blued-green because so much of their colour desires are being met. Though I’m still understanding this myself, I have run into textiles that have an Autumn type of warmth but are saturated at BW level, where the BW and TA both look pretty good. The BW person is a bit dull and the TA is a bit overwhelmed, but as a measuring tool, the drape is still doing what it should. Every type of colouring can fare well in another group’s colour if it satisfies what that skin wants, especially so in the Neutral Seasons. Perhaps an article on sharing colours would be good. About the primaries – I’m no pigment expert, and you might be right that TW has the primaries, but they seem so blued. Somehow, they feel more balanced in BW, but when I think of it, I couldn’t really pin down what defines a primary colour. Quite right, everyone fine tunes their personal best.

  • "; ?> JR

    Primary colors would be blue with no hit of red (no purplishness) or yellow (greenishness), red with no hint of yellow (orangishness) or blue(purplishness), and yellow with no hint of blue (greenishness) or red (orangishness); also no black or white, just pure singular color. I do think of TW as home of the primaries. I think primaries make sense for TW because of the stillness and simplicity. No blending, adding tinges of this or that – juxtaposition of colors at their most purely defined.

    Any color you can identify as a blend (i.e. a blued yellow or a blued red) is not a primary color. A blued blue would be primary I suppose =). I’m a BW having trouble identifying my own blues and yellows vs TW’s and I don’t know if my perception of primaries as being TW is correct but when I see primaries I leave them in favor of something a little more… “quirky” is a word that came up on the FB page.

  • "; ?> Karen

    “TW has the primaries, but they seem so blued”.

    I see them as blued as well. BW’s red and blue seems to me to be the primary colors, at least to my eyes.
    (no expert here :).

    • "; ?> Christine Scaman

      It’s an interesting Q about the primaries. If it’s TW, my unresolved issue is that they have far less red than purple/pink/fuchsia and the red and yellow look blue. Their blue – is it pure blue or is it blackened a little? If the primaries are in BW, which could make sense since this is where colour purity is technically highest as a Bright Season, the thing is that BW is also a Neutral Season. I’ve always thought that Neutral Seasons contain all 3 primaries to some extent. So mentally, I can’t get it to work either way in a way that covers all my Q.

  • "; ?> Marianne

    The primary colours are in the TW palette.

  • "; ?> Jane

    Is the “no makeup” rule of PCA flexible? Cathrine looks like she would be really hard to analyse because her skin appears to be absolutely flawless. I think she looks nicest (!?) in the beige suede jacket, and or the black. Are both of these professional photos?

    • "; ?> Christine Scaman

      Not sure what you mean by flexible – oh, do you mean “Is it ever OK for clients to wear makeup for their analysis?” In which case, the answer is “Not flexible. No makeup. No way.”
      For photos though, given that they are not useful for assessing a result anyhow, I would only post flattering images. The analysis was conducted without makeup, I assure you. But no amount of “Do not copy the images.” requests or warnings will stop people from showing them on Pinterest boards and a million other places. It may be that Anne-C is not wearing makeup, I don’t know. She does have fantastic skin. And part of the desired result of the PCA is a face on a Hi Def screen, as if it’s already wearing concealer and foundation.

  • "; ?> Sharon

    Hi Christine, I have a question, I was draped a dark winter. It was done very quickly. I was also told no black or fushcia. I thought they where every winter colours.?

    • "; ?> Christine Scaman

      There is certainly a version of black and fuchsia in every Winter palette. That said, so are those colours present in some version in Dark Autumn, Bright Spring, True Summer, and maybe others. It comes down to, What is your version of that (and every other) colour?

  • "; ?> Julia

    The pink make-up is too cool on her. The blue, black, green (autumn) and yellow (seems also very autumny to me) are beautiful on her, but then again: with the right make-up, like the make-up with the black clothing. The summer photo is too pale. So to me she is the perfect example of an autumn/winter (or winter/autumn, should that make any difference).

  • "; ?> Rosanne Roy

    Hi Christine, I realize this article is rather old, but I am in a quandry over my own color journey, and guess I just want some validation as to what I think I see. I had my first color draping a year ago, and despite my thinking/hoping I might be an autumn, those colors were among the first to go. I ended up as a True Winter, with the remark that “I was difficult to suess out” and that the DW drapes did look rather muddy/ruddy on me. I went home happy, but was inspired later to have a recheck with the luxury drapes, just because I wanted to. I don’t know exactly what happened, but something magical did seem to occur with the Dark Winter drapes–whether it was the materials or just the gorgeous colors that I am instinctively drawn to. In this case when we went back and forth between the TW and the DW colors, my face seemed to “lift” with TW and “settle” with DW. In that lighting my hair and eyes sparkled, but I may have been subconciously trying to influence the selection. I went home elated, and as a Dark Winter. HOWEVER, it just doesn’t feel right somehow. If I had never gone back I would be content as a True Winter. (Note that I am almost 70 and my hair is definitely graying, and I have very fair skin which sometimes has quite a ruddy flush.) Wearing the DW makeup just feels sort of sad and dirty on me, and the lipstick colors–though quite gorgeous, are better suited IMO to much younger women. But when I put on my clear vibrant TW colors, my skin looks clearer, brighter, and I just feel more like my self. Last week, two of my friends I hadn’t seen in awhile, separately told me I looked great! (and I was wearing a TW blue and my Clinique Berry Pop blush and Matte Plum lipstick. Looking back, I have had nothing but compliments when I’ve worn fuschia, purple, green, the right shades of blue, red…but nothing has been said about the DW colors other than “your coat is pretty”. In TW they tell me I look pretty. Tonight I tried the Fast Track blush sample which I’ve had for awhile but it looked way too intense for my taste, but OMG!! The color is absolutely amazing on my skin–so much clearer then the Bulgarian Rose makes it look. In my selfies comparisons I’ve been doing, I just look blotchy and mottled wearing the DW colors, although some are pretty, but so much fresher looking in TW. Therefore, I really believe the first opinion was correct and that I really am a True Winter, despite having a second analyst also affirming DW. Maybe under the spectrum lighting I am, but in real life, not so much.
    Maybe we just misinterpreted what we saw. Maybe the “lifting of the face” with the TW colors was what was supposed to happen, while it seemed to become calm/recede with the warmer aspects of the Dark Winter colors. Does this make sense? Does it even matter and just wear whatever colors suit my mood or am I really a True Winter and just go peacefully!

    • "; ?> Christine Scaman

      Roseanne, I often find that if women can get themselves into the right main Season, they will figure out the rest. I certainly know of women who test as Dark, but can wear many TW colours in clothes and cosmetics with ease. It has to work for you. If True feels right, then you wear True. Dark Winter colours can be hard to find and women often inadvertently are wearing DA colours. Also, many DWs are wearing TW colour often because that is what was available. For many of the colours, the difference is not that big.

      • "; ?> Rosanne Roy

        It must be that winter thing…that search for perfection, all or nothing that you talk about. Another concept that I now realize is that you said some of us could be on that 49-51 split. Cate did say I leaned more toward TW so maybe that’s it. I guess I just needed your verification and approval…..
        I’ve really enjoyed your book too.

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