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.Â 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?”Â Point taken. Nobody does. You’ll find colours and styles you might not normally see.
Light Summer in December
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 unlikeÂ 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;Â 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 Winter in September (or March)
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 andÂ 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.Â 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. Â 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 earÂ 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.
I hope that you go to the site and make these images bigger. There are some really nice things here.
The first draft of the Training Guide came back from my wonderful editor. Iryna, my equally wonderful book formatter, is waiting to start but I still have some work to do. Â I’ve been keeping my head down and not attending to posting articles and answering comments as I should. My apologies for that.
I should sound more excited because I am. I’m really looking forward to these training events – maybe especially the part where we put our feet up at the end of each day, have a glass of wine, and share some informal conversation. That and going across the street (from the hotel in London ON) to swatch makeup at Sephora. It’s going to be good.
I’m not going to talk much today. Many have asked for the 12 Colour Equations from the book, Return to Your Natural Colours (linked over in the right column) to be posted all in one place. Here, they be. Any that have appeared previously have a link to that article posted with the title. Explanations are in the articles and/or the book itself.
A reminder that these palettes went through Photoshop’s colour model, my computer, the servers, and your computer before you saw them. At each step, they changed a little. No two readers are seeing the same thing. Don’t use them to buy clothes or makeup. Use them as comparison with the eleven others. To choose your colours and know your true darkness range, use your 12 Tone swatch book. Nothing else is calibrated right.
Use them to notice how my taste Â prefers to see neutral colours used, the overall degree of colourfulness, the use of complementary colours (to each other and to the skin undertone), and the gradual or sharp flow between colours. The geometric figures make it hard to impossible to illustrate watercolour diffusions between colour blocks, so for that, you need to read the book or other sections of this website.
Â True Winter
If you see light icy gray, feel free to sub in diamond and platinum, certainly neutrals for you. These also can be used in place of white to set the high contrast range with black.
Very purple, this Tone. Not much red, but a lot of pink, fuchsia, and purple. No. 5′s purple is also a near neutral colour for True Winter, more magnificent than black against the skin tone.
In the article Colour Equations Dark Winter.
Easy one. Shoot the sat up to 98-100%.Â Small areas of complementary colours. Something has to be happy, which means a little random (repetitive=predictable=work=Autumn)
, but not too happy. If it gets too happy, rein it in. Move it darker. Make the pattern repeating. Bright Winter is the “Life is a party. So, how come I’m not having fun?” paradox.
Something has to be delicate too. Add significant jewels profusely. Jewelry is your normal.
And shiny shoes and purses. Super shiny is also your normal.
The original is darker and more saturated in Photoshop. They lose when they’re uploaded. As dark as the belt inset in #1 feels right.
Dark Â Autumn
In the article Dark Â Autumn CE and Apparel.
In the article Light And True Spring Neutral Colours at the Office and CE.
True Spring is a (2 colour + 1 neutral) or (2 neutrals + 1 colour) look. Actually, that’s probably everyone’s best way to use neutrals, but when you wear the Â 2 colour, they can both be equally sized if you choose (others might use 1 large and 1 smaller block), and they can be complementary or at least quite different colours (others would wear colours of the same family or neighbours on the colour wheel). Â When you wear the 1 colour look, make it a bright one, not one of the gentler ones.
In the articleÂ Light And True Spring Neutral Colours at the Office and CE.
Not happy with that one, it uploaded at the very low end of the saturation possibility. The bigger problem is that it looks too warm. True Summer hinges on absolute coolness. Try again to give a better sense of the darkness and saturation levels. Darn, now Soft Summer looks too light. It’s all about comparison.
In the article Light Summer CE and Being Not Pale.
Also in the book RTYNC, I write an equation called Undertone Colour for each of the 12 Â Tones that describes how I see my version of the 12 undertones happening. The undertones are shown in the top right corner of the 12 colour layout pages. Below is a graphic that shows the colours I saw as the building blocks of those undertone equations.
To be really clear, I am not a colour mixing expert. This is only how I figure it in my head and much of it is probably incorrect. Â You gotta start somewhere. This colour chart is a good guide to the colours referenced.
Blue = French Ultramarine
Red = True Red to Alizarin Crimson
Blue = Cobalt Blue
Pink = Rose Madder Genuine looks right. In the photo below, I used Permanent Rose, Cobalt Blue, and some yellow to make the colour at 6 o’clock, True Summer.
Gray = is gray really added? As a product of black in pigments, a single drop can take over a mixture. Is the muting of the Tone done with complements alone to preserve the blue-pink undertone? I don’t know. In the colour circle below, no black was used, even for the Winters.
Yellow – the daffodil, the buttercup.
Gold = Raw Â Sienna to Gold Ochre.
Practicing The Undertones
A year ago, when I was thinking about the Undertones for the book, I did this. The white page at the top gives you a white balance.
I have many watercolours. If I had one straight that felt right, I used it, though it could easily have been made from the neighbour colours.
True Winter: Winsor Violet + Ultramarine Blue.
Dark Winter: Crimson Lake + Sepia.
Bright Winter: Permanent Red + Cadmium Yellow.
True Summer: Cobalt Blue + Permanent Rose + Spring yellow.
Light Summer: Cerulean Blue.
Soft Summer: True Summer’s mixture + Sepia.
True Spring:Â A mixture of Cadmium Yellow, quite warm on its own + Lemon Yellow hue.
Light Spring: Permanent Rose + Spring yellow + trace of Cobalt Blue.
Bright Â Spring: Permanent Rose.
True Autumn: Burnt Sienna.
Soft Autumn: True Summer + Yellow Ochre. I like yellow ochre, it has a thickness and opacity that reminds of a strong Soft Autumn visual I have, which is fudge.
Dark Autumn: Brown Madder (and maybe some red or blue, I don’t recall)
Autumn light is long, low, and less. Like in the late afternoon. Like the difference between indirect lighting and a 100W bulb in the ceiling. The effect is to emphasize shape and depth, which looks rich and warm. Â The feeling is safe, cozy, secure, all the reasons why we don’t put fluorescent overhead lights in our homes.
On a face, shape and depth take on a pronounced three-dimensionality – hills and valleys. Up close, it looks an uneven surface, a grainy quality – lines, freckles, fullness in hair, thicker looking skin, a feeling of plush and pile. From Â a distance, this varied natural landscape depicted in such rich, low intensity tones has great resonance.
We’re going to use the quality of light and shiny colour to advance and matte and darker colour to recede. This will generate movement backwards and forwards to feel like depth and texture. We don’t want the face to look grainy, we’ll leave that to fabric, but we do want the appearance of profound strength. Â It looks deep, synonymous with complex, wise, and penetrating. I think our brains are much more plastic with synonyms than we know and worth unleashing. It’s amazing what flutters up and out of the soup.
Remember the What and Where subdivisions of our visual system? We talked about them in the Soft Dramatic Soft Summer, a few articles back. The Where system, although not colour perceptive, is extremely sensitive to value contrast changes. It decides depth. We might only be able to recall about 7 or 8 grayscale levels but by putting them side by side, our Where system can discern a multitude of levels. On an Autumn face, we’ll put darker Â colour on the skin to make the lighter areas seem lighter. As with shading in drawing, or chiaroscuro, this models the illusion of depth and volume.
We know that wearing many layers, along with looking warm and creative on Autumn, looks 3D. Here’s another way for attire: wear repeating patterns. Can be geometric (plaid), natural (leaves, paisley), or brushstrokes (Impressionist painting style). With two incoming images, one for each eye, the brain has to decided which goes with L and R. When the images are multiple and repeating, some get switched. Makes us think we see depth.
At one far end of Autumn’s influence on natural colouring, the Season we call Soft Summer in 12 Season Personal Colour Analysis is mostly coloured with the Summer paintbrush, resulting in a moody blues feeling. Autumn’s gold effects are beginning to co-exist, like the hologram of the previous articles on the Soft Dramatic Soft Summer Part 1 and Part 2.
At the other end, where Autumn also plays a smaller part, Dark Winter is a cool-based (Winter-based) group, like Soft Summer. Here though, the advance/recede is superseded by Winter’s high contrast, making depth and texture of lesser prominence.
What about the 3 Autumns?
and Dark, interesting how much temperature changes with light, darks are darker below and you’re looking for a sweater.
how does these types of natural colours amplify the many gifts they were given?
Autumn is seldom smooth to look at. This is not a My Little Pony world. Spring’s wide-eyed-wonder is not the rhythm of this drum. Autumn is rope, not ribbon.Â Autumn is not dewy or creamy or anything that reminds us of smooth. Dewy spices, dewy chocolate, dewy rust, they don’t make sense. Expressed in Autumn’s colours, dewy somehow feels slimy. Dewy curry. I mean, I ask you.
Autumn is hot, dry, velvety thick, and metallic. You could say a rose petal is velvety, yes, but it’s not dry. Worth taking a minute to think about the difference between shine, frost, and metallic.Â To me, shine is smooth and wet and belongs on Spring. The difference between frost and metallic may be semantic or may be about the colour they’re rendered in, where frost is cold and icy colour, so Winter, and metallic is hotter and medium to dark, as copper, gold, bronze, and their variations. So what’s shimmer? Good Q. Is it very Â finely ground frost or metallic?
So wear bronzer! Like with Spring, I use the same product on the 3 Autumns, mostly because I travel and want to minimize. Spring’s was a beige based peach-gold. Autumn’s is baked earth, dark tan, a more orange-brown type of gold and a darker colour. I like Rimmel SunBronze 02 as a good colour that’s not very shimmery.
On Soft Autumn, I apply it much the same way, in a 3 shape from temple>just below cheek and side of face>under jaw, but using less than on True Autumn. On True, Â I use more and let it be both heat and contour. Dark Autumn’s makeup colours are quite saturated and strong and with her Winter input, she is more contrasting than the other two groups. If her hair is warm, I often skip the bronzer and let her makeup stand alone and allow a warmer hair-cooler skin event, always visually intriguing on Neutral Seasons. If her hair is cooler, I might apply the bronzer. You need to know that eleablake did an outstanding job of creating cosmetics for the 12 Sci\ART palettes and their bronzers (12 different skin-accurate shades!) are IMO the best around.
The sentence we began with said it. Autumn is about low lighting. On a face, that means contour! It’s huge here. Take the 3D in you and make it more. Shadows go dark in Autumn fabrics, so should they on the faces. Where Spring uplighted, Autumn shades and contours the valleys. Would I do both? No. It would start looking bizarre.
You can use bronzer or a slightly darker powder than your perfect match. It’s interesting that you can go quite a bit darker than you think and create bold shadow emphasis and once blended, it still looks normal. Apply it at the temples, sides of nose, hollow of cheeks, under chin. There’s a good image here from the excellent book, Looking Younger by Robt. Jones, and below the contour image halfway down is a link to another article in the same blog that shows you Aucoin’s version. CreateÂ the near and far that is so much part of Autumn scenes.
Oh, so good. Rich colour, warm colour, strong accessories, gorgeous lips, sensual features, fantastic bones, amazing hair.
But when Autumn makes up like a Spring and adds Winter apparel,
Coating the entire surface of a brick wall in shine doesn’t help define its surface. If anything, it neutralizes or trivializes it. Besides, the surface isn’t by Nature very reflective of light or full of highlights, so coating the surface with it is just strange, like a trick that you don’t quite get how it works or what you were supposed to see or understand.
However, a dot of shine here and there over velvet matte layers using deep, rich colours brings more dimensionality. Keep the face suede, which makes sense. Add deliberate shine over the iris. Dimension is created better by deliberate placement of metallic over matte products. It is not present at all in entire shiny eyelids, cheeks, or lips.
Best JLO pic I know – feline, exotic. This photo makes me choke up. My jaw drops. Does straight white girl hair and powdery puff makeup look better? No. Does soap opera hair and safe peachy makeup look better? No.
Anyone’s browser having issues opening the JLo photo? Try copying and pasting this link into the address bar:
Let’s take that makeup to the next level and compare them.
What’s the same
- eyebrows definition without darkness or high contrast
- a dark powder from the inner corner of the brow down the sides of the nose just on the edges of the midline
- eyeliner around the entire eyes, angled down with the eye at the inner corner and up with the eye at the outer corner
- flesh tones – although when we’re in our correct makeup, we’re all wearing flesh tones, but here the traditional flesh colours (beige, brown, orange, Â camel, gold) are superlative
-squint and look at Jennifer; the bronzer does around the face on the outside in the same way as on many of the cats
- the mouth has a dark liner, medium colour, light center gloss, using layering to create a 3D effect just like Autumn does with clothing colours
- everything about the hair is rave-worthy; Autumn is not particularly light though they’re often dyed that way; the highlight is minimal, just enough red to give us the idea without an entire redhead that can take over our awareness so we miss out on the amazement of the total image; this hair is very much about lowlights just like the rest of the Autumn ambience; I see few natural redheads among Autumns and though they wear it well, I find this looks more dimensional, interesting, and authentic
- her entire face is velvet, not sparkle
- coppered, tawny, metallic hints, hot hot
Never underestimate the power of jewelry near the face to do what makeup can’t reasonably do. Wear it near your face. Make it textured as in bumpy, irregular. Use clothing the same way, with all over shine that doesn’t work on a face or just metallic threads, keeping it layered and uneven, as raw linen.
Use matte eye shadow to look like velvet. The feeling should be like pouring thick cocoa. Remember the movie Chocolat (Juliette Binoche, Johnny Depp, rent it, it’s beyond great), that hot, dark liquid that was going to heat you up in every sense of the word? Go for that eye shadow look.
And you knew there were flecks of hot chili in that elixir? Wear a dot of shiny antique gold above the iris, not all over the lid which is less dimensional – like if you put concealer on the light skin and on the shadows, you’d Â cancel the effect of the product to even out the shadows.
Do not cover up freckles ever. They’re splendid at every age. Believable beauty is always better. They look textured and young.
Smoky eyes are good. Â Run your darker eye shadow over the eyeliner to fill in the holes, make it look less linear, and smoke it up.
The Skin Textures
We did Springs previously. That went as:
BrightÂ Â Spring = glass
True Spring = persimmon
Light Spring = petal
So the Autumns could be:
Soft Autumn = suede
True Autumn = velvet
Dark Autumn = leather
3 Autumn SeasonsÂ
Add heat all over the face, you might as well, the skin is that way already. The True Warms look great with bronzer applied as we have heard, ‘where the sun lights the face’. On the Autumn Warm Neutrals (Soft and Dark Autumn), a little restraint may be better. On the Autumn-influenced Cool Neutrals (Soft Summer and Dark Winter), bronzer looks better to me when confined to contour.
Revlon Abstract Orange lipstick is interesting. It’s red and brown and orange, layered and very dimensional. Super good with Arbonne Sunset blush. Made to be together.
Metallic eye liner could be great here in a colour that’s not too dark, just like real gold. Autumn looks best when it’s real, not plastic, synthetic, or artificial. Glinting added to very dark colour sets up too much contrast and goes with Winter.
We’ve shifted from the more delicate muted Summers to Autumn’s stronger muted colours and texture, to skin like suede. Colour is rich, earthy, but retains some Summer grace. Look at Arbonne blush in Dusty Rose and compare it to their Blossom, a real beauty for Light Spring. Arbonne eyeshadow in Smoke and Sand are great Soft Autumn colours as well.
Eyeliners that you thought would be good often go on looking too dark and/or too hot (orange or red). This is my most challenging colouring by far for finding eyeliner I like. At Shoppers in Canada, Essence liner in Teddy costs a dollar. It will be great on many Softs and some Trues. Using eyeshadow as liner is wonderful on the Soft Seasons to avoid harsh lines, enhance the low contrast effect further, give you so much more choice of colours, and let you enjoy some of your darker tones in cosmetics.
Take care with metallic eye liners that they’re not the only thing people see, especially if eye colour is light. Imagine them in the Harvest Field photo above, they’d feel very hard. WithÂ the essential muting of the Soft Seasons, iridescence and luster are beautiful, real, and enough. If you’re doing metallics, don’t go dark.
Nobody looks as right in leather, like those bomber style jackets, shearling lined, metallic effects in snaps and zippers. If Soft Autumn is Indiana Jones, then this is the Marlboro Guy. It’s a stronger, heavier, thicker look. Stronger and more defined eye liner works, though still can be very smoked. True Autumn is not high contrast, so lips and brows are more part of the face. On Messing above, the makeup is great, the glasses are getting dark for a True (no idea what Season she is) but they don’t really compete with her face. They’re interesting, smart, explore the edge with confidence, and say “I know what looks good on me.”, which is a fairly unique thing to be able to say.
Use more drama in contrast (Winter coming in) with eye shadow as a darker outer corner, defined brows, and a mouth that stands out from the face. Lips can still be flesh tones, which looks too erased/flat/tired/dead/old/pick your word on Winter, but these are deeper than the True or Soft Autumn flesh tones. They are darker, redder, maybe a little burnt looking by comparison. (I appreciate that in our ideal makeup colours, we’re all wearing flesh tones but I mean it here as the browned colours.) Givenchy gloss in Delectable Brown could be great on Soft Autumn, while the Darks might look at Sensual Chocolate, here at Sephora.
Ideal hair colour for the 3 Autumns is the eye colour or somewhere among the eye colours, an effect very few other Seasons accomplish so interestingly. Gingerbread brown eyes are truly visually compelling. These are the warm dark browns from chestnut to coffee bean. Red works because Autumn’s quite controlled red is increasing towards unleashed when Winter appears full on.
No question, to balance higher saturation, more red in the colouring, and darkness, you need more cheek colour to look vibrant, healthy, and fantastic. Look at Arbonne blush in Merlot.
And of course, lips need presence, especially once these faces reach full power in their 40s and onward. Both Dark Seasons can struggle with all the too-dark-for-daytime choices. As a Neutral Season, Dark Autumn has a warmer and cooler version of all its colours, including red. Oh, to find that saturated-but-not-too-much, red-that-isn’t-rust, warmer-than-cool, doesn’t-look-black-at-night, I-could-go-on…Could it be Arbonne Jam? Try it and tell us.
(For those who live in North America, you may have an Arbonne rep you can Google. My newest great friend, Ramona Robinson, is based in London, Ontario. She can sample and send product anywhere on the continent. There’s no hard sell here. Ramona is a woman who sincerely wants to empower women with better information, health, and awareness in all aspects of their lives. Contact at firstname.lastname@example.org. Tell her I said Hi.)
Recap: The skin is contoured, setting up lowlights. The features are defined from the skin by colours that are warm and velvety and the judicious use of metallic glints.
This was Spring: The skin is dewy, setting up highlights. The features are fresh, lively, distinguished from the skin by being very colourful, moist, and vibrant.
When I wrote the articles about True Season children two years ago for a previous blog, there was no Autumn article because I didn’t know any Autumn kids to watch. I still don’t know many. I know many Autumn grownups these days. They’re so levelheaded, so reasonable, that it’s hard to think of those elaborate parts of their character that can be quirky or funny. To them, what is, is. Not more, not less.
They’re like everything that’s great about trees and home baking. Not fancy or fussy, I love their company so much for the WYSIWYG, sound, comfortable, real-world advice they offer. Their constancy and durability give us a feeling of people who are extremely trustworthy, reliable, and rock-steady. There’s no zigging and zagging.
gentle eyes, a soft face, perhaps some Summer; she could even be a Soft Â Summer but the eyes look too orange
Capable. This is the kid you want yours to be with if they go horseback riding. If yours falls off and is having wrist issues, the Autumn child can catch both horses, lead them home, find a grownup or a phone, call the parents, and get the right kind of help.
Life goes smoother if the other kids could just agree with them. There may be no physical attacks but there will be direct words spoken and order imposed. She’s doing the talking at the lemonade stand. Not bossy, not show-off, just doing the job.
Least likely to be picked on. Assertive from an early age.
dark but somehow soft (muted actually) ; the strong facial lines, smile lines
True and Soft are social, not solitary. Dark may isolate himself more and talk to dolphins while all the other kids are trying to tip the raft. Winter needs time apart.
Might be stocky or sturdy, especially the boys, and boy, can they eat. Regardless, boy or girl, these children are strong and willing to use their strength. They are powerful athletes and real survivors. Their stamina and endurance stays with them into adulthoodÂ as 50 year olds who can still outskate all the kids in pond hockey.
someone was smart when they put him in orange; notice the orange tones in the hair and a very strong face, even for a baby
When the Soft Autumn child tells a story, the emotions involved will be inflated higher than anyone else’s version because their Summer-ness felt them so deeply. The Dark Autumn child will have more worries about the events in the story and their meanings and repercussions. The Winter in him will keep him worrying about it for days. The True just tells it like it is. The most exaggerated thing about this person is that they have no exaggerations.
Need time to process surprises and really wishes you wouldnâ€™t. His Spring sister’s idea of euphoria would be a surprise a minute.
building, digging, stacking, carrying, exotic eyes, Carol’s T3 defined points at the outer eye corners (from Dressing Â Your Truth)
They must have their own experience of something to change their mind. They are the original can’t-tell-them-anything kids.
strong and striking, Autumn and Winter ; not romantic or cute (Summer and Spring)
The Autumn child is straight up. He doesn’t conceal, cannot deceive. He’s not a jokester and is never devious. His Spring brother, who takes life less seriously and has a big imp streak, has figured out that when Mom’s on the phone, he can climb out a window, double back around the house to the kitchen, and sneak his fifth Popsicle of the afternoon. The Autumn child might walk very quietly into the kitchen, but if noticed and asked, would be compelled to admit “5″.
Spring fills us with the wonder of the moment. It is immediate. Summer is the cradle that keeps us safe while pushing us to meet our highest potential.Â Winter symbolizes mental capacity, to reason, to rationalize. Autumn is the work we do on Earth, to enrich, to build, to create, to leave something better than we found. Autumn completes our wholeness as the power of the physical body, inseparable from emotion (Summer), spirit (Spring), and logic (Winter). Without the balance between them, we cannot heal ourselves because each one is assaulted when the other feels injury. We also cannot fulfill our human potential. We cannot have been put on Earth with the abilities we have to live as cavemen. We must be here to live up to a higher ideal. The pendulum between the four powers sways but our answers are not behind us. Once we learn our center as a humanity by respecting all four energies equally, we will find a sustainable way of living and the answers to longevity.
Sensible, practical, no-nonsense, peaceful. Harrison Ford. Martin Sheen. Their steadiness makes them shoe-ins for feel-good TV presidents. The Summer contribution of do-the-right thing to Autumn’s save-the-day strength.
The Dark Autumn boy will explain, indeed expound, actually expostulate, on his topic, with no awareness that nobody has had a chance to speak for 20 minutes. The Dark Autumn man is not very different, but he speaks more slowly so he has time to formulate his thoughts. He is the professor to Dark Winter’s philosopher.
strong and capable at every age
What happens when a Summer and Autumn live together? Felix&Oscar.
Soft Autumn’s husband asks that you not tell her that a family member is in personal crisis or he’ll be sent back to the Farmer’s Market. The rest of his morning will be spent making ham sandwiches. He already delivers an asparagus quiche to the Art Gallery once a week. She combines Summer’s love and upstanding decency and Autumn’s foot on the gas to nurture the entire world.
True and Dark Autumn will be on time. Let’s get to it. Then we go on to the next job, though we tell ourselves weâ€™re going to rest. We can chat after, but I won’t be late for my next appointment or make you late for yours.
If a client has all her children colour analyzed, she could be a True Autumn. She sees the sense and the savings, and is completely open to change. Light Spring will do the same, a mix of her Summer desire to make her family happy and her Spring enthusiasm when she spots a good thing.Â They will adopt their new palettes very quickly, without Winter’s tendency to contest or Summer’s to resist.
hazy eyes, hushed skin, a future Soft Autumn
If itâ€™s a plain and honest opinion you want, go shopping with an Autumn. Summerâ€™s deep streak of kindness will embellish with the compliment, any compliment. If you’re ok with the cold-blooded comment, a Winter can tell you that your suit is fine if you don’t mind looking like a birthday cake. And then you say to them “Now, how would you feel if someone spoke to you that way?” And they say “Fine. I wouldn’t care.” They’re telling the truth. They are thick-skinned (so they balance matte and opaque cosmetics), while Summer is thinner-skinned, as sensitivity of skin and emotion, as wearing a softer, lesser pigment deposit (so tinted moisturizers), as being more touchy of feeling internally and of texture externally, as tactile, with highly developed brain-hand connections and sense of touch. Summer skin is soft matte. Spring’s looks best dewy. Just as everyone’s busy is different, everyone’s Golden Rule comes out different but it’s still the same rule. Winters should shop with other Winters. Buy them the book Getting To Yes for Christmas. It will help them in life.Â The kindness of Summer and sweetness of Spring might see this Winter, meaning me and only me, as having the heart of that first cockroach that crawls out of a nuclear accident zone. On the other hand, I won’t tell you 3 months later that I really didn’t love you as a blonde but didn’t want to hurt your feelings, knowing what that hair cost you and all.
Dark Autumn brings in Winter’s flash. Whether Gamine, Classic, or Natural, words like Dramatic and Flamboyant will apply. Getting out oh the car, she will not come across as medium. Something is extraordinary and exaggerated – height, hair thickness, texture, and length, snap in her character, or embers for eyes. Julia Roberts may be Dark Autumn, Bianca Jagger, Dark Winter, perhaps both Flamboyant Naturals. The Dark Autumn will reveal or release much more of herself, while the Winter will keep larger parts of herself locked down.
The three Autumn groups look rightest in brown eyeshadow and liner because brown is dark orange and orange, gold, rust, etc. are cornerstones of Autumn. The only other great one for brown eyeshadow is True Spring. Everyone else is better in their grays.
Â Autumn’s face (left) Â speaks to us of resilience, bravery, and grit, in colours that are darker and more muted than the lighter, brighter skin on the right; Summer on the right is dreamy and swoopy – on both girls, gorgeous base hair colours for Soft/True Autumn and Light Summer
Will promote what she believes in gladly. She told every one of her True Autumn friends that some of the best makeup colours around are at Dressing Your Truth online store for Type 3. Â The three lip glosses just glow with rich warmth. And an Autumn pink eye shadow, you’d find that nowhere. Then there’s, the jewelry! She saved hours with the 6 pages of superb choices at the store. She thought about all her outfits and chose what would complete each. (Her Spring daughter just bought everything she liked, with no planning at all, figuring it would all work out. Imagine that.) To express her traces of Summer or Winter, a Soft and Dark Autumn resepectively might look at the Type 2 (Summer according to me, not to the folks at DYT) and Type 4 (looks Winterish) accessories. Since both SA and DA are Neutral Seasons, they can be flattered by silver and gold. A Soft Autumn looks great wearing Autumn colours in Summer’s way (analogous, flowing, floral, soft). Dark wears her palette in Winterâ€™s way (bold, more contrast). Â So integrate your smaller contributing Season by wearing their style in jewelry with clothing and makeup in the colours and style of your own Season.
Soft Autumn, try out Lancome RIL 230M and 240M, your natural lipcolour is one of these or in between.Â Also NARS Mayflower lips, Body Shop 11 and 07 lipstick, and MUFE RAI 19 (for TA too) lipstick.
On Dark Autumn, NARS Pigalle, MUFE HD8 blush, Lauder Maple Sugar and Rich Currant lips. A good, dark,warm, barely muted blue eyeliner is Revlon Colorstay pencil in Navy. Dark Winter could wear this very well too as they have warm tones Â in hair and eyes.
True Autumn : MUFE HD10 blush, Givenchy Gold Brown lips (really nice, this lipstick, but sample it at Sephora first, big $$).
A NOTICE before we begin – I will be traveling during the month of July and so not able to ship the book, Return To Your Natural Colours, that you see in the right column. I can ship them up till June 26. In July, Kerry Stich at Indigo Tones may be able to help, or I can ship again as of August 1.
I can’t tell you how much I appreciate it when someone asks specific questions. It helps me focus. The article comes together faster. Pinpointing your gaps helps you use your Season palette better so that you own and love your entire closet.
PCA absolutely has to be grounded in sound theory or we’re in a mess. But financial theory and getting your RRSP in order are not the same. I might never be the first guy, but I can try to be the second one. If other analysts have comments to add or just plain disagree with me, I always deeply appreciate correction and much prefer if it’s public, in the Comments section, so everyone can learn.
Sabira has my respect for verbalizing what she doesn’t yet know. That takes time, effort, and organizing the files in your head. She asked some great questions. I fear that my answers can’t be as cut and dry as we might hope…which makes me feel a bit better. Do you find that the more someone knows about something, the more their answer to every question starts sounding like “Well, it depends.” ?Maybe I’m getting somewhere.
I’m not posting palettes because Sabira added a link to the eleablake (the makeup company that creates astoundingly good 12 Season cosmetics) Pinterest pages where you can see all 12 layouts.
I would ask what I should rely more when finding my coloring. For example my eyes are rather muted, I would say dark teal green or pine, but my skin is not so grayed, so some of the most grayed colors of a SA palette work with my eyes, but don’t work with my skin giving it unhealthy glow. DA palette works better with my skin. Does that mean that I should rely more on my skin tone, than on other factors?
Look at the skin foremost. You just can’t be going around with an unhealthy glow. What would be the point of that? When the skin is right, the hair, eyes, everything else, are automatically right.
Skin and eyes will always accord in the end but eyes are tougher to call because blue eyes will make a connection with a blue turtleneck from any of the 4 Seasons. How do you pick the true connection? It’s not easy for women to do on their own or with friends who don’t quite know what to look for. I often am sent photos of a woman in clothing from what she assumes is say, True Summer…but the colour is actually from another palette.
Don’t look only at what intensifies eye colour. Look at how crisp the outer edge of the iris is. If the eye edge is fuzzy, so are the other features smudged into the face. The natural topography is dulled and blunted.
I would ask if there exist some colors that can help distinguish between the two seasons. I mean if there are colors of the SA palette that a DA can’t tolerate and vice versa.
A funny, in fact almost frightening, thing happens when Dark Autumn’s spiced peach is put beside Soft Autumn skin, it sucks all the life and colour out of it. Then when SA’s soft coral replaces it, the flush of health and vitality returns like a whoosh, from the drape up to the hairline.
Same thing happens when L Sp wears Bright Spring’s iced pink. Though B Sp’s seems a “lighter” shade of pink, it drains the life out of L Sp skin. Put the L Sp coral on the person, and you can see glowing alive colour suffuse the skin.
Dark Autumn’s lighter colours are very particular and hard to find. The yellows and greens, also too hard to find. To choose between 2 Seasons, you have to get extreme. Try DA’s strong burnt orange, dark rust, and dark tobacco, against SA’s light flowerpot terracotta, latte, and willow green. There’s no point using grey – DA’s battleship, TA’s elephant, SA’s dark putty, the odds of finding them in your closet is next to nil.
I am not also sure, whether black is a part of a DA palette or no. Because as for me, I can wear black, but it is not my best choice, I need to wear something golden or beige with it to make it work. When I wear black only I can’t look my best.
Sounds about right for DA. It is not in their palette but they can balance the darkness so well that they can cheat it in if it’s warmed up. What’s even better than black are those colours that are so dark that even in pretty good lighting, you think “Is that black?” When you move it around, you see that’s it is darkest navy, eggplant, brown, and grey.
Put a SA in pure pitch black, all you see is the black and an older looking SA.
Question about contrast – if a soft season can have medium-high contrast between skin, eyes and hair, or it doesn’t matter.
Let’s be sure we’re comparing apples to apples. It sounds like Sabira is meaning “contrast” as distance between lightest and darkest, what is most often meant. We’ll stay with that.
There is a wide variation in hair darkness in Soft Seasons (and many others), so there will be different degrees of contrast (hair-skin-eye differences in darkness level). Although the most perfect skin tone, colour, and texture, and the overall harmony are achieved with the same palette regardless of hair colour in a given Season, and hair colour isn’t used to choose Season, there’s no doubt that it plays a role in how others see us.
What I think looks right, an opinion from not-a-fashion-expert, is to repeat what you look like. Try to use the same distances between lights and darks in clothes that you see in your face, always within your correct palette.
The more I see of this, the more I think that spending too much time on contrast just complicates your life. Your entire colouring is inherently set to be in agreement in the exact same way as your 12 Season (12 Tone) colour palette. Your own personal hue/value/saturation all shift consistently and together even if you got darker than or warmer eyes than the ‘average’ for the Season. The thinking is already done for you. The Sci\ART palettes are so genius because they make it hard to get it wrong, to achieve very high contrast where it doesn’t belong. In Soft Autumn, where you have eggshell and medium-dark putty grey for lightest and darkest, you can’t really create a too-high contrast. So, contrast is something to think about briefly but I’d move around my palette with freedom and imagination knowing every colour there looks great on you, and I’d spend my time figuring out my body’s geometry.
What do you think about the concept of flowing seasons – can it be so that a person can take some colors from the neighbour palette. And can it be so, that a Soft Autumn can bÑƒ closer to the DA than a SSu.
This is the order of the Seasons in my head, as taught to me during my Sci\ART training (my diagram, not an official Sci\ART publication):
The Season Circle
So SA and DA just wouldn’t share colours because they’d have to pass through TA. They are totally different. Â Perhaps one of DA’s browned coffee beiges could work pretty well, but most of DA is just too aggressive (too saturated, too red, too dark) to flatter a SA or work with the rest of her outfit.
To my knowledge, the “flow” concept comes from Color Me Beautiful. I’m not familiar with its full meaning or implications, so I’ll talk about sharing colours.
Any two immediate neighbours could maybe share some colours if:
1. Those two Seasons were very close when choosing the final and correct Season.
2. You respect TMIT. A Dark Winter and Dark Autumn could share their darker colours much better than their lighter ones.Â Light colours on Dark Seasons are less forgiving, so they’re either exactly right or completely wrong.
A True Summer and a Light Summer would share maybe the coolest colours of Light Summer. Maybe. I find True Seasons very absolute, and quite low in their tolerance of neighbour Season colours because the neighbours have warmth, the one thing with which True Seasons cannot harmonize. The sharing works better with Neutral Seasons. Still it takes caution and is often done too freely. Your best palette was chosen for a reason. Strive to stay within it.
I’ve always thought that I am Â SA flowing to Ssu, but when I saw these – http://pinterest.com/eleablake. I realized that those colors I thought to be a Ssu blue-greens are really DW blue greens and some of the colors I thought to be of a Soft Autumn are more of the DA palette. I know that it depends on the monitor, but I have never thought that the soft seasons are SO grayed. I think I had the wrong concept of what is really “soft”. Â Is it so?
The Soft Season palettes are probably the hardest to figure out on your own, Soft Summer likely hardest. The colours are losing some saturation in the photos and monitors. They appear brighter than this in the swatch books. It’s not your concept of Soft that is wrong. It’s the concept of ‘how Soft’, or ‘how Soft in this Season compared to that Season’.Â Dark Winter is softer than Bright Winter.
People don’t look at your clothing colours on a screen or a white background. They look at them ON YOU. On a Soft Summer, those soft colours look connected to her. She looks healthy, vibrant, and defined instead of disappeared. It feels comfortable and right to look at those colours when SHE wears them.
On a billboard, we might choose other colours, but we don’t see other people as two-dimensional blocks of isolated colour. We see them as a total image, like an organic hologram, not separate from what they wear. We are more beautiful when the colours we wear are an extension of ourselves and have a logical reason to be placed next to our body.
I am still confused with the terms “soft” and “muted” – what is the difference.
For our purposes, there isn’t one.Â They mean desaturated, closer to the pot of grey paint you started with before you began adding colour pigment. If the colour appears dusty, heathered, greyed, then it is called muted or soft.
Most important to always remember, colour is relative. Closer to grey compared to what? Wedgewood blue or electric sapphire? Compared to Bright Spring, True Spring is soft, but we don’t call True Spring’s colour low in saturation or muted.
I started to think whether I can be a DA, because my worst colors are pure white and summer light pastels. Light pastels give me either yellow or grey unhealthy glow for my skin.
Sounds right for DA. The skin looks like concrete in Summer pastels.
I also appreciate this post very much
But it make the things for me much more complicated :
As for a DA the 2nd and the 3rd are my best colors indeed, but I am not sure about the fist blue-purple. As for a Soft Autumn – I look good in brown and soft warm yellow, but the medium green is not my best choice – it is too light and too grey. As for neighbour seasons – I can wear Dark winter grey and maybe red, but I am not so happy with red – my better red is definitely warmer. Yet it is an “ok color”. I can wear SSu pine green – it works with my eye color, and so does TA teal, but other shades of a Soft Summer are not my best choice usually, and True autumn is too warm for me.
Like 19 people out of 20, you’re finding confusion in interpreting colour. How do you put it all together? I’m afraid that only a small minority can get it right, even from photos sent to an analyst. Plainly said, it just comes out incorrect too often. That’s not the analyst’s fault, it’s the medium.
When you saw the colours above, error #1 came in because the screen didn’t show them right. That error will carry forward just like in algebra, in every calculation to follow. Then you tried to match them with what you had, error #2 because that was off a little. If it were easy to find right colours, we’d have drape sets by the truckload to sell you. Now we have error #3, where you decided what works on you, but I bet that for some of your choices, I might come to a different answer. And on it goes.
Between any 2 Seasons, you’re always juggling 3 parameters of colour – warmth level, darkness level, and saturation. So maybe the saturation of Dark Winter works well, but not the warmth level. Maybe the coolness of S Su is what works, it’s kind of like DW’s coolness level after all, but its darkness level is way off and its saturation is off by a tiny bit. And on that goes.
I also tried to compare how different greens intensify my eye color – there was no clue also, my eyes are not so dark (but I am not quite sure how dark can be blue-green eyes, I would describe my eye color as pine green in general) and change color that is why I can’t wave goodbye to soft seasons. I tried blue green and olive – but they work both I think, because my eyes have blue green background with an olive sun around the pupil, so when I wear olive they are warm green, when I wear pine they are pine green, when I wear teal they are teal green. I know that every season can have every eye color, but with different shades. So I have a question can that be that a DA can have pine green eyes or pine is more a soft color?
Right, so you may find blue, green, or brown eyes in any Season but they won’t be same version of those colours in terms of warmth/darkness/saturation.Â Some are less common, like blue-eyed Dark Autumns, but it can happen, perhaps as a dark teal that appears blue.
And yes, if you have green in the eye, it seems to connect with any green you wear to some degree.
When you say ‘pine green’, we probably have a different colour in our heads. Even if you sent me the colour, I doubt that it would be the real colour of your eye. We usually don’t know our true eye colour till it is placed adjacent to our most harmonious palette. To go from eye colour to a Season decision will lead you wrong. To go from Season to “Wow, who knew I had those colours in my eyes?” happens all the time when a woman is correctly draped.
Nirmala left a comment after the last article on 12B that really sums it up. Kind of paraphrasing here, but as she says, we can’t see ourselves, that’s Problem 1. Â Though we search for our truths, there’s no easy road. They are quite cleverly concealed, maybe as protection from us, for if any way were revealed too soon, we would probably misuse them like any information we get when we’re not ready.
A clothing system won’t be the as-the-crow-flies route to inner truth. The most it could do would be to open a window. The opinions of others, even professionals, are subjective, variable, relating taste and opinion more than anything else. Compliments are of no value to me, they just drag me off center for a week or two. Though the 12 Seasons of personal colour analysis may not have every answer, it is at least measurable as long as the compass is calibrated right.
The Sci\ART drapes are calibrated into measured increments. That’s what a Sci\ART colour analysis gets you that is so incredibly special. The line between one group and the next is clearly divided in coherent, defined, steady intervals. Connect the dots is way easier when the dots are numbered. Sci\ART has human colouring classified right. Doesn’t mean that analysts who do colour by eye are wrong. I’m a huge believer in humans as little electrical towers and perhaps some people can feel our emissions of light energy as our colours. I’d lose faith if two such analysts came up with really different answers though.
Dark Winter Type 1
Maybe Sally Field looking (not so sure she’s DW). Or Mario Tuttle, though with that nose shape, he’s more likely a Bright.
For Type 1, I went with light, young, fun, random, playful, upward, hearts and triangles, freedom of movement, sprays, fountains. Detail and eye catchers are placed high on the body, so no black outfits with yellow shoes.Â Some bold is ok, this is Winter, but nothing serious, sharp, or rigidly repeating. Got to get light, bright, warm, fun, and alive into this. And fairly contrasting.
Tunics could be great here. And prints.
Lots of jewelry that doesn’t necessarily match. “Life of its own”, not floppy and not stiff, Perkily crisp.
I like the zigzag of the sleeves on the two tops at the top.
Clothes can feel light without being light coloured. Taylore Sinclair’s totality of radiance actually comes in here, where fabric, design, and texture all contribute to a person’s movement.
Chose heavy heart lockets that wouldn’t get lost in the contrast and weight of the colour. Torn between the 2 lockets.
Black can’t be chunky or serious or this girl will grind to a halt and look glued to the ground.
Shoes are light. Even a wedge is too blocky.
Â Dressing Your Truth: What I Liked
About the Dressing Your Truth course, my friend asked “What do you like about it?”
- I like Carol. Makes no difference to me how she promotes herself, whether she’s licensed, whether women can or can’t find their Type, or how many websites she owns.
- I recognized my drive for standardization (of colour analysis systems), my obsession with being able to duplicate results (between colour analysts or it’s all useless to the client), and my need to promote it – all as Type 4 traits.
- I learned about the most dominant types of lines in my face. I follow them to apply eyeliner and blush. Our movement path could be drawn on paper as we negotiate tasks big and small, through problems towards solutions. The lines tend to be consistent with other lines, like those in our face. Fascinated me. I really like the part about how we move forward and how we get stuck. I’ve watched people who seem unable to end one interaction or activity and move on to the next. The nearer you get to an ending, the more they’re compelled to drag it out in a thousand ways. Since I almost erase the past as I’m living it, watching this deliberate delaying left me saying “Just Â make a move. Don’t worry if it’s wrong or right!” Now I get why that was not helpful for them.
It was fun to actually draw makeup with those same lines. I see that if you draw a line across my eyes from outer corner> inner corner> inner corner other eye> outer corner other eye, the line is straight. So now I extend eyeliner out straight a little ways. My kids have not said I look nuts, which they are well trained to do given even a smidgen of provocation.
- The psychology that goes with the lines structures is great. I see now why True and Soft Summer have more issues with their palettes than everyone else put together…because it’s her (Type 2, Summer, whatever) nature to examine every single option over and over, like she can never have enough evidence to make a choice. And why I shoot off like a rocket and ignore all the fine print.
And why my Light Summer sister can get so deeply hurt over words or actions that I wouldn’t even notice. Her weakness isn’t her huge sensitivity; it is her strength because it’s her truth and because the world needs so much of what she has to offer. Telling her “Stop letting every little thing get to you!” is disrespectful and confusing to her. Now, I will hold her in higher esteem for it. Learning to honour others better has been the greatest reward of DYT. So much has fallen into place -why I’ve stood at makeup counters with Summers watching they energy test eyeliners.
Figured out why I have been sent so many more True and Soft Summer clients than any other. We relive the same experience over and over till we learn its lessons. I finally see that I need that character to balance me, to model certain behaviours I will need in my own future. I am grateful they came to see me.
- Picked up a few good clues on clothing to add to my Season and Kibbe, but this was far from the main selling point. As a matter of taste, Carol and I don’t share a belief of what looks good, let alone true. As a matter of statistics, it’s unlikely there are only 4 style Types in the world, even if you could prove that there are 4 main movement types. The diversity of genetics makes the probability too low unless the types are so broad that few can tell where they fit, especially if they contain some of each, which means most of us. And it’s been proven across populations that 4 main colour types won’t work. This energy system won’t be any different. Still, would I take the course again? I would in a heartbeat.
- Learned a lot more that I can apply as a better spouse/parent/workplace than as any kind of fashion star. But then, I came into it exposed to a lot of info about Winters, Dramatic dressing, etc. A newcomer might pick up some great advice or a good intro to thinking about how clothes are cut. Â I did buy some jewelry and I like it.Â For all 4 Types, the jewelry is nice for the price at the Store. Mine is about 2-4 times larger than it looks on the site.
IDK the DYT rules for the 4 Types. Â I’m just extrapolating the energy of the person, like I did with how the colours felt to me in RTYNC (the blue book over in the right column). Doesn’t mean it’s the only way, just my way. DYT is a natural expression we feel as movement. Same with seeing those lines anywhere, a book plot, a mechanical device, a wind pattern. What Carol has tuned into and translated is four different movement types and how their energy feels interpreted with clothing to create a visual image. For instance, when we see parallel lines, they look like a mirror. With that, we associate reflectivity and stillness. Reminding of the 4 True Seasons? Absolutely, but a new spin in many ways.
There’s no reason you can’t be true to your colouring and your movement type even if they don’t coincide. Neither takes precedence because they’re describing different things. Your Sci\ART Season knows your colours. Your Type offers an opinion about your shape as expressed by your style of movement. The whole silver gold thing for Types, I pretend I never heard it.
True Spring Type 2
Type 2 is the Summer “stereotype”, awful word but it serves. So, connections – tops with bottoms, repeating colours, interlocking shapes. Gentle flow and drape. Less delicious and vivacious than the “stereotype” True Spring, more of a Summer analogous colour scheme. Wavy lines.
I know two of these women. They’re certainly True Spring, they look like T1, but they lead in movement with T2, at least when I met with them.
Beauty Sixth Sense
Do I agree that women have a “Sixth Sense” about their own beauty, as Carol claims in the Dressing Your Truth course? Not for a second.Â I know for sure they don’t. I had to be in my 50s to come close to recognizing me. Others can’t always tell either. I have a True Winter daughter whose Kibbe or Type I cannot figure out. I wish women wouldn’t feel so devastated and to blame when they can’t find their answers. I wish they weren’t so willing, eager even, to believe every word of it all. Â I read it all like a novel rather than non-fiction, let it come at me like one person’s story, like one person’s travel diary.Â Your journal to the same place would read different. I read it like a recipe book. I find one I might try out, and 20 that I would never use but I don’t burn the book. Why give someone’s opinion more importance than that?
Anyone’s an expert if they say they are. One quick look at logic trees with 4 only branches (4 Seasons, 4 Types) can tell you they will only apply to each person superficially at best. If you saw a 4-branch tree to cover all disease in the world, how much attention would you give it to find your own aches? Â Not more than a glance.
Kibbe used the Yin Yang metaphor to describe variations of shape of bone and flesh. He also brings in the very important issue of scale, not just what it is but how certain bodies make it look (the Yang-er you are, the taller you appear and the smaller you make jewelry look). If you can find yourself in his book, he’s the guy who got human body geometry sorted most ergonomically. He makes a point of keeping the colour talk very general. It surprises me how dogmatic DYT gets on this point given that it’s not their emphasis. They could do the whole thing as well, indeed far better, if they just left colour out of it, but fine marketer that Carol is, she realizes that if she’s not 100% convinced, nobody else will be either.
Bright Winter Type 3
boxy practicalÂ functional big textured simple natural regular strong corners
a very Yang person, pants have a fly and a worn with a belt
not so straightforward to express work instead of fun with these colours
heavily accessorized…now that works with BW and T3, glad I found someplace these 2 come together,
though come to think of it, a BW usually has some big Yang elements of character and colour
every one of these Seasons/Kibbes/Types have their intersections; it’s when you find them that the fun starts.
the slightest whiff of Spring and turquoise and purple should appear (Autumn? teal and burgundy)
not too confined at the neck so she can move towards you, as it is her movement to do
I deleted several comments to this website aimed at exposing Ms. Tuttle and her sources. Find them on Amazon if you like. Truly, I just don’t care. Anybody can pick up the similarities in wording and philosophies between various colour systems.Â So what? Ballet, yoga, and Pilates have similarities that stem back to their common origins. However similar the language, DYT seems to have applied the knowledge in a different way so that’s fair.
Why does DYT create such intense emotion when it doesn’t work for a person? In any discipline, there will be those who can deliver and those who can’t. The consumer decides for themselves, just like which vet to take their pet to. We’re not saving lives here. It’s clothes. Â So Tuttle’s explanation doesn’t work for you. Another one will. Where does our perspective go? The words of others only have as much power on our path as we choose to give them. These days, I’m picking up the pieces and moving on about everything.
In an email, I was advised to examine my own reactions carefully as to why I removed those accusatory comments and blame-filled reviews that were deemed “heart-wrenching”. My contemplation came up with this: I didn’t find it heart-wrenching at all that some clothing system didn’t work for one person. Probably did for many and didn’t for many. The expectation was unrealistic to begin with. Call me a heartless Type 4 but I couldn’t get bogged down in something so full of holes and hope to see me come into focus somewhere out of the haze. That’s looking for love in all the wrong places and we’re back to the Kingdom of Heaven being within, but it takes a heck of a lot more self-work to get to it.
Everyone finds their true self, the deepest soul that their body incarnates, in different ways. Colour has been a metaphor for many revelations but it doesn’t bring me to my knees. Where I go to get myself right, where I finally understood what it means to say “Love is free”, learned the true purpose of prayer, figured out what the Chakras/sacraments really represent (abundance, health, humility, love, truth, wisdom, and grace in that order, my opinion only), and met my best and worst selves in a way I could work on them, was in Carolyn Myss’s book Entering the Castle. It’s the Bible that I read and practice each day.
Although your colours hold true as part of your energy spectrum at every level of your being, they’re also part of the physical world and part of the five senses. The special and specific grace that you came here to share comes from deeper than that, or any tip-of-the-iceberg colour, image, or clothing system. Your truths are far more encompassing and more connected to the energy of Divinity. We’re a long way from understanding that but we can approach it and we can feel it.
Â Soft Autumn Type 4
All the usual True Winter adjectives – bold, simple, symmetric, long straight lines.
Structured for sure. I keep my jewelry in fishing tackle boxes. $4.46 at Walmart now that you ask.
The lower R corner outfit would be secondary T2, with S straps on shoes and teardrops or earrings.
This one was by far the Â most difficult. In my mind, I can see these colours looking fine for this person (though not how I see their best), but finding the clothes is another thing.
Long ago in our lives, shopping began as an exercise in acquisition. It suddenly made a lot more sense when you learned your right colours and shapes, becoming something you could fully control. Then a few more levels of refinement opened up. Now, it’s a game of hide and seek.
These articles about wearing your own colouring and your own body lines borrow their colour palettes from the 12 Tones or Seasons of colour collections by Sci\ART founder Kathryn Kalisz, more accurate than any other I know, and the body line categories from David Kibbe’s fascinating and brilliant book, Metamorphosis.
In Part 1, we talked about who the Romantic woman is inside. It is that essence that we want to project as faithfully as possible because therein lies true beauty. We met Roseanna, our very beautiful model, in the previous article, with sincere thanks to Maytee Garza for the Sci\ART colour analysis.
In trying to get a sense of the body to choose clothes for, because Dolly Parton was too extreme, I thought of Linda Ronstadt as an example of this very sensuous hourglass figure. She always seemed lush on film, especially as her career and body matured. But I was in error. Look at this fantastic collage Paisley made:
When I opened this, suddenly all I could see was Yang straightness and angularity except for the huge eyes (and she’s 5’2″), like a little spider. I so didn’t get this before. This combination of extreme Yin (huge eyes, small body size) and Yang describes a Gamine. Smart women whose understanding of body type are light years beyond mine suggest that Linda is a Soft Gamine – so a Gamine first, with a trace of Romantic. Happy to hear I got the R part right.
When Kibbe said hourglass, he meant hourglass. He meant tip-to-toe luscious. Carrie suggested Christina Hendricks, no doubt a perfect choice. I can see that Roseanna is closer to Christina, with fuller lips that balance the size of her eyes better, where Linda’s mouth is smaller. She gives a more womanly impression than Linda’s ethereal, waif-like proportions.
Christina Hendricks Pictures
Suddenly from these photos, who these women are inside comes clearer. Colour and Kibbe are the same. It’s all in the comparisons. What you can’t see about a garment, a swatch, a lipstick, or a body’s lines can be sweet-talked into revealing its truths by placing it besides something else, anything else. The closer in colour or line the two things are, the more their particular dialects are divulged. It works both ways. Seeing beauty as how close you can line up to the 19 year old blonde model seems to really just emphasize the differences. What’s the point in being her? That’s cookie cutter stuff. You are who the world wants to see.
Getting carried away again. Let’s look at some clothes. Costume museums would have many of these outfits, the teal suit on the stand in Poly 4 being an stiffer exaggeration. Frothy fabrics, even florals, felt out of place, better placed in Theatrical Romantic.
Here is Poly 3:
- Framing the face matters greatly when a choice is being made among details, but the hourglass is essential. Simpler necklines like the grey cardi-T top need a necklace or a hat or some accent around the face.
- Flowing means not stiff, tight, clingy, or straight – because one could think of curve emphasis as tight but this Yinnest of people is indirect so I avoided anything that felt remotely overtly revealing or even provocative. Perhaps the grey cardi-T needs more draping or something worn over it.
- These clothes remind me of the power that comes from suggestion, like a hypnosis rather than grabbing. An old-fashioned attraction rather than the modern version of seduction, the line between come-hither sparkle and the modern version, glitter, needed to be addressed. When I looked for R clothes, I held a face and body without a single masculine element. TR is similar, only more pointed, and glitter works better there, I felt. TR feels also a little more girly, girl being more Yang than woman (who is R) in that way of tomboy and still undefined sexuality (maybe why ruffles seem better there too). Could you agree? Glitter feels Yang to me and belongs with the Flamboyants and Dramatics.
- Patterns appeared to distract, distort, or just get in the way of a bone structure as delicate as Roseanna’s. The 3 colours at a time Colour Equation (this comes from the blue book, RTY Natural Colours, just in the right column on this page) depends on the woman and the print. If one of the colours is from the hair, the eyes, a neutral colour, or a colour elsewhere in the outfit, any of those would reduce the colour busy-ness and perhaps allow the majesty of this face and body to take center stage where they belong.
- Waist definition means a physical tie or belt. Using a print to create an hourglass (like the long dress in Poly 5 below) or just having some ruching bunch up at the side waist seam isn’t enough unless there’s an actual waistband. An interesting thing I learned from Susan is that a horizontal colour block at the waistline can exaggerate a waist. The swirling antique skirt at lower left Poly 4 is an attempt, with a cardi to the left of it (not TA colours) to show where I was going. I wondered if the sweater floating around, with the waist definition from the tank, could look suitably allusive to the hourglass , but maybe it looks sloppy. He said short/tight/clingy so I guess that’s my answer.
- The purple dress, how I love bronzed purple on Autumns, has the curved neck, the hourglass, and the flow without flop in the skirt that allows the curves of hip and bust. I had some Oscar de la Renta feelings but he can be too light and airy. This is looking more John GallianoÂ for the simple abandon to ultimate curves.
And Poly 5:
Please help me with those dresses 1 to 5.
- does off the shoulder work, as 5?
- must a skirt be swirly as 4, so is the skirt of 5 too straight?
- what about the V-neck on 3? are rounded necklines much better than V?
- does 2 need more draping?
- is 1 too busy? at some point, all those swirls in the skirt form a multitude of vertical lines that gives a Grecian column effect? would you agree or no?
- the brown skirt below, is it too flat at the waist and too floppy in how it falls? I haven’t quite understood the line between Skater Pouf and droopy looking without some gathering at the waist.
Hiding this body under a trench felt very Mata Hari in a good way, a draping classic camel. The power of suggestion is who this woman portrays.
I told you about Angie, my beyond wonderful facialist. I feel she’s a Romantic. Here is her face. (She is about 5’4″ or a bit taller.)
As you see, Angie is so beautiful, it’s almost distracting. Our conversations are more productive because I’m lying down with my eyes closed. She wears multi-stranded short necklaces with huge pearls all swirled around each other and looks fabulous. Her saturated darkness brings much intensity to her very curvy body, like a union of opposites. In our existence, there really is no right and wrong, no good or bad, no beautiful or ugly. Everything flows into, through, and out of everything else. Though we hold beliefs (very limiting beliefs) about these based in many life experiences, we are equally Yin and Yang. Conceptually, Angie seems to me that individual that closes the circle between the Yang Dramatic and Yin Romantic positions at the far ends of the Kibbe scale.Â That her many gifts would be placed in a body that resides at one extremity of colour and the opposite pole of line feels somehow rational or obvious.
As Susan showed us (on facebook), women of dark colouring can seem more dramatic than they are. They still look better if they dress in line for their body type. The drama of their colouring is expressed simply by wearing the palette, or Season, that holds their natural colours. This would feel very complete to be and to look at.
In the last two years, as we took the Colour Ride together, we learned this: It takes scrutiny that gets uncomfortably close to home. It takes many photos, conversations, and walking on shaky ground. It means taking the lid off your pot and examining what you most want to avoid, the beliefs you have about what looks good and looks bad and the value you’ve attached to these. Your hot spots and trigger points will try to stuff the lid back on. Talk yourself out of that or you’ll still be in the role of victim, a weak position that doesn’t tell the truth about the strength you know you have, the strength it took just to ask the “Who Am I?” questions.
I have said and strongly believe that we are Beings of Light. I Â mean that as much literally as figuratively. See yourself that way. Keep moving towards the hottest, most intense part of your Â light, even when the waters feel roughest. Don’t let yourself turn back on what you started. Take the time to be grateful for the clarity you will find at more levels of you than you ever expected. Notice that your pain, physical and psychological, has lessened. When you love your so-called good equally with your so-called bad without conditions on that love, you find the confidence to just love you.
You can tell I’m really warming to this Kibbe topic when the length of my posts are no longer under my control.
The best part of this one was reading his description of the person. I have the world’s most wonderful facialist, say Angie. We do Guided Facials (my term). I see her often, so incredibly cognitive is she of what I need to hear and practice to keep ascending. She is not telepathic. What she hears for me from her own voices aren’t in my head to begin with. As Mr. Kibbe says about Romantics, she has an ability to see my higher self and show me very clearly and practically what to strengthen and how to release to attain the next height. It’s as amazing as it sounds. I read the words describing this type several times, so accurate were they, like I couldn’t believe the print was on the page and I wasn’t placing the words there as I read. She is a Winter, probably True. Not floaty, ethereal, or dreamy. She’s quite philosophical, fairly blunt, and not a bit sweet.
Like the situations in life that you can’t think your way through, very much where I find myself at this time, the Romantic embodies that which can only be received and never held, let alone taken. True to their position at the highest physical Yin type, the Romantic lives life in the Yin way that gathers energy slowly, rather than Yang’s fast&hard.Â She lives in faith, trust, and love, more than the Yang’s impulse and industry.Â Romanticism is an extreme form of sophistication, that word meaning ‘to become more complex and less straightforward’. Romance is about suggestion and attraction. She’ll be alluring beyond words but you still have to come to all the way to her, as the bumblebee to the bloom. She settles and allows, living the truth that in giving, and perhaps only in giving, do we know what it means to receive.
As we try on various Kibbetypes to test their fit, I find this one a little easier to see in a person than some of the others, probably because one shape is predominant in bone and body and face. The Yang aspect of a Romantic type doesn’t make its visual presence felt. There is no traditional ‘masculine’ or ‘dramatic’ element, no straightness of brow, no density of bone, no bluntness of nose.
I bet I would have mistyped Lisa, the R model in the book, especially before her transformation. I probably would have said SC except that the Before outfit looks aging. Today, we are so fortunate in having a real woman to imagine, one who epitomizes the very Yin features to perfection. We’ll call her Roseanna. I am grateful to her for use of the photos and to Sci\ART analystÂ Maytee Garza of Reveal Style Consultancy in New Jersey who draped Roseanna a True Autumn.
Every time I see Roseanna’s face, I’m reminded of a Persian Linda Rondstadt (don’t assume Linda is a Kibbe certified R, she just looks like one to me).
Here’s some time travel for you to see how an R body looks as it moves. Indeed, look at the bodies of all three women. Fascinating what you see when you look.
Which Linda has found herself? To me, not the one in jeans and a shirt, not the one you sometimes see in Mama Cass dresses. It’s this one:
Note:Â the great women of our Facebook group, whose generous advice I have such respect for, have helped me to see that Linda is actually a Soft Gamine, so a Gamine with a Romantic drift. I’ll show you some pictures of why and a better body model in Part 2.
Autumn and Romantic
A priceless part of these Polyvore exercises is having let go of every attachment I have regarding preconceived Season shapes, textures, or persons, while only holding the colours and this particular shape. These collections come together like an act of faith, like driving directions that make you wonder why you’re going through this neighbourhood and exactly where you’ll get at the end. I now approach my own shopping that way, just buy everything DC DW and put it together after because it works in Polyvoreland. The styles mix and match automatically just as well as Sci\ART based colour palettes do.
In my head was ultra-ultra feminine with a round shoulder. I set out to dress a modern day Marie Antoinette meets Pin Up Girl. No, too corseted. Victorian meets PinUp Girl worked till Victorian became floppy. Once it pulled together, I had more feeling of luxe boudoir, almost a sultanah effect at times, a lot to do with the colour palette.
But also, what should she wear to work? What would Roseanna pull on for a casual day? If she has two children and a job, she doesn’t carry a tiny round purse to the grocery store, so bigger purses got hourglass shapes. We all get closer to Natural on our days off. Keeping one frilly fancy item, a shoe, a bracelet, sets the tone for the whole oufit.
How to combine a Season of natural/earthy/textured/functional/square with a body line of soft delicacy?
Find the common ground:
- plush, ornate, lavish, antique
- belts, boots, leather, suede
- luxurious colours named for foods, antique, knits (for the fluffy/clingy/drape)
- pale neutrals, Autumn has many neutrals
- hair around the face (good on Autumn)
- colourful makeup with bit of sparkle (metallic good on Autumn)
- “you have to touch it to know it” – this beautiful quote from a reader says it all
Whether it’s a shoe, a party dress, a sofa, or a living room,
- round, circles, flow, swirl, curve, fluid
- hourglass waist definition
- fold/drape/sash/gathers/ draping to hug those curves a little
- detail intricate
- sparkle and pearl
- clingy/fluffy/short if it’s a sweater
- prints large floral/feathery
- the shoes you’d slide on Cinderella’s foot
Why They Were Not R
In knowing where we went wrong, we learn. Here are some close calls. This would be Poly 1 because I forgot to number it, of course.
Clockwise from upper L:
- The belted gold sleeveless – that V neckline, is it severe when the face is rounded? All edges should be rounded so V seemed not the best neckline, perhaps better for the Modigliani faces among the Dramatics. Might it also be too blousy and not respect the hourglass enough? Still, I find beautiful fluidity of line when I’m trying for no straight lines.
- The bow shoes – the bow is good but edges are sharp – perhaps an Soft Dramatic or Theatrical Romantic shoe.
- The wood circle earrings – shape and shiny hanging center piece good but too chunky.
- Brown shoes – good strappiness and tapered toe but heel too solid, should be slender and tapered.
- The pink dress says baby doll to me. I felt that tiers of ruffles is not what he meant and better for TR, though that is how he dressed the R model. The right ruffle for R looks like the petals of an iris, deeper, rounder.
- Maybe for the same reason as the ruffles, I couldn’t deal with bows of any size, like the gold Ferretti top.
- The red feather dress wouldnâ€™t work if it were straight across the top, but this neckline (sweetheart, is it?) is good. The skirt is too stiff and the feather effect feels flamboyant, seeming better to balance a Yanger body.
- Green dress: neckline too plain, sleeves too straight, the shirtdress hem looks sloppy on the Roseanna in my imagination.
- The brown Valenti dress -many variations of this dress exist. Is it a problem when the top is neither draped or softened? Would this be just too fitted and not hug the curves with Yin’s grace and ease?
- The brown empire waist – I learned from Zandra’s very useful commentary on the D TSu to think about where a garment waist would sit on a body. This would miss the best part of the woman and look heavy, like if you hung it on half of a butterfly, you’d have no idea what the shape underneath was.
- Antique gold Marni dress on L side – skirt not swirly enough, needs more waist emphasis. Sleeves could work.
The R Choices
There are two more Polys to show you! Are these purses too heavy?
I am all over that nail polish.
Here is an actress I greatly admire. Although she was a beautiful Juliet Capulet opposite diCaprio’s Romeo, when I really took notice and have loved her since was in Stage Beauty.
I’ve also come to understand that we express more than colour. We express line, pattern, and motion.Â You can’t just wear your colours, though no others on Earth could flatter you better. If the style does not respect your lines, patterns, and movements, harmony continues to elude.
That Dramatic True Summer was very worryingly difficult, so I’m trying an easier combination today, the Soft Autumn Natural. It came back to me that colour felt worryingly difficult in the beginning too. Having a real woman in mind gave me an endpoint I could envision and taught me how the Seasonsâ€™ colours work together to make a picture. With each woman whose colours I analyzed, I could write the articles and start seeing the similarities. I’ll have to learn Kibbe that way too. By holding Claire in my head, the need for length past the hip in a jacket becomes clear.
Kibbe’s book is the only personal style book that I can get to work on me and others. Indulging my love of an adjective, it is comfortably organized, ergonomically specific, and reliably stratified. And reproducible! Using his system, five people should come up with the same style answer for a given person. Kibbeâ€™s translation of a very abstract thought system is linear and logical.
I’m a beginner. I need to start with easy pictures and lists. If we set out discussing tempering chocolate, I will never produce a chocolate cake. If the idiosyncrasies of different analysts’ tastes come into the picture too early, I’ll get confused because I won’t be able to tell them apart from the basic truths that really do apply to me.
I also think his 13 types is complete and enough. It just takes time to figure out what he means by certain terms and descriptions and to get a sense of the relative differences between the groups. Like, what exactly is a straight skirt? Of the 3 types with small rounded facial bones, whose are the most small and round?
Soft Autumn Is
In 12 Season personal colour analysis, ‘Season’ describes a type of natural colouring. In a Soft Autumn, all the colours that make up the body, skin, hair, eyes, maybe veins, teeth, inner lips and cheeks, and internal organs for all I know, are:
- muted, soft, heathery, so slightly calmed by a murmur of grey
- warmed quite a lot, as every colour appears in a late afternoon sun on a day with a little overcast
- fairly light to medium dark, no extremes like black and white
Looking at the person, you see the colours all at once like when the swatch book is fanned out. The feeling is affectionate, safe, restrained, sensitive, mellow, supple, and sympathetic. Words like strident belong somewhere else.
Kibbe’s Natural Is : “Girl Next Door Chic”, “Losbter Party hostess”.
He also has a Flamboyant Natural – who’s the modern version of Carly Simon…Miley Cyrus could be FN. With her bigger body, broader facial bones, smaller eyes, I wonder also about Andie McDowell (not a Soft Autumn).
And there’s a Soft Natural category…the Olsen twins?
- soft and round edged geometric shapes ; slight oversize/unstructured
- earthy materials, slightly chunky
- outline relaxed, straight, narrow, loose, soft tailored
- textured fabrics; glitz at night
- detail minimal, simple neckline, open neck, soft shoulder
- mostly separates, mixing pattern texture colour
- color pizzazz, break the rules mix n match, neutrals with texture
- circle, swirl, ornate, sharp, severe, fiddly
- sheer, clingy, flimsy, restrictive
- cropped, monochromatic
SA N Separates
- relaxed straight lines? yes, pretty good
- bold and direct? I think so, enough anyway.
The hard part: keeping colour zippy and colour combinations energized. I even consulted Kobayashiâ€™s Color, Image, Scale, best colour combinations ever, and didnâ€™t have much luck getting pink beige into any snappy colour combinations without losing my Soft Autumn vibe.
Like: that it feels tight in style, not just colour. I donâ€™t look at any item and think â€œWhy in the world would that be there?â€ These could all live in one woman’s closet.
The Hair Style
I quite like chin length hair on Claire. If the bob were not severe, keeping to the idea of rounded edges that are a little fluffed, perhaps this?
The Hair Colour
Highlights, bleach, or any kind of processing that is obvious will feel forced instead of being true to the feeling of naturalness that an N emanates.
Though Hollywood advice to Soft Autumns appears to be that blonde is necessary, it is never the best choice for the skin, whether she’s an N or not. The natural colour is usually medium-dark warm-ash brown. Very medium in colour. If the texture is also without body or definition, the hair feels left behind once the woman is dressed and made up. Consider a colour that is one shade lighter and a fair bit warmer than the natural colour.
JLo Lite, like what’s at the ends of the hair. Golden Blonde before anyone would call it red.
Jennifer Lopez Pictures
SA N Makeup
Natural means the no-makeup look, which can still require a good bit of makeup to achieve. The movie makeup and hair artists in the poster at the top did a pretty good job.
Try these and let us know what you think:
Bronzer: Urban Decay Baked
Blush: Mercier Rose Bloom
Eyeliner: Urban Decay Stash
Eyeshadows: NARS Portobello, Key Largo, Blondie
Lipstick: Givenchy gloss Delectable Brown
Which brings up the interesting question of what a SA Dramatic would wear.
Other SA Kibbegories
C. had a lovely idea, comparisons. Katrina did just that with a SA Romantic and it’s brilliantly good.
Here is Jen’s Romantic Soft Autumn. We know with colour that two women of the same Season will interpret their palettes very differently in the items they choose to buy, how they colour their hair, or wear their makeup. The same applies to Kibbegories. We still retain every bit of our individuality. Our creativity is simply more focused and our visual voice is so much more beautifully coherent.
If you did a Polyvore of another Kibbegory, please post links in the Comments. We’d love to see it.
The previous post was Dark Autumn Landscapes. In 12 Season colour analysis, the Dark Autumn group has a natural colouring that is mostly defined by the properties of the Autumn colours (dark, warm, muted), and importantly influenced by a smaller Winter effect to darken more, warm less, and mute less.
Winter does more than that. It inflicts intensity and complications (which is different from Autumn complexity) on a warm, natural, functional, undemanding (Autumn) group of colours. I said a lot last time about choosing dark colours that are still fathomable and knowable, glowing and rich as Autumn is, instead of black which is too Winter in every way. Black should be occasional from head to toe. Even in footwear, the dark bay Hanoverian horse is better than black. The shadows are black but where the light strikes, it’s brown. If black is necessary, matte is better.
The dressage photo above says a lot to me about the intersecting line between DarkÂ Autumn and Dark Winter. Animals tie us back to our own earth origins and many are necessarily Autumn. Â The horse is Autumn. The rider’s outfit cost thousands but if you stood beside her, she’d be dusty and smell of hay. The white bandages, saddle blanket, and breeches are Winter’s but the picture is about the horse. The animal is not black. He is darkest brown.
Winter doesn’t only mean verbs like ‘inflict’. It really never graces, embroiders, or enhances, and it barely embellishes. It bejewels. The rich texture of True Autumn becomes luxurious texture.Â As Nana said about all Autumn, you must feel it to know it – fur, suede, velvet, raw silks. The photos in the previous post were chosen because they had texture – tapestry, fur, roughness, or the scaly skin of the cobra in the music of the bellydance. Texture expresses heat just as colour does. Absence of texture feels colder.
Autumn is close enough to touch while Winter has receded out of arm’s reach. Winter can feel more modern, like a 21st (or 23rd) Century city.Â Dark Autumn speaks of old luxe, dignified though not monastic. Vintage-antique (the Chanel cardi with handsewn silk flowers and bronze piping) works better than vintage-kooky (the daisy skirt).
As they bridge rural and urban, old world and new, tradition and Winter’s yet unwritten edge, estate and city streets, their scope of looks is enormous. Buckles, zippers, chains, jackets with metal buttons. Riding boots (with breeches, suede knee patches and all), cowboy boots, cowboy hats, tough chic, biker, army. As long as the message expresses strong, work, utilitarian, muscular to some degree – because that’s what the colours say. Then add in Winter’s majestic and serious. Pouffy, polka, bows, round collars, to me, makes no sense. The colours are of Nature matured. It looks inconsistent and scrambled if styles are the opposite, as if the colours, the cut, and the person are all moving in different directions at once. Unstable.
Autumn is honestÂ so keep to the natural look of things. No pink leather or leopard shearling is what I’m saying. This is the Marlboro guy (actually, he’s True Autumn to Indiana Jones’ Soft Autumn). They borrow better from the guys (RayBans, neckties) than from the theater (cat eyes, glitter gloves). Brown is the color of work, countryside, and common sense. A very difficult colour to get right but so worthwhile since it is Autumn’s black.
See how his white shirt and the white wall are greying her face and lips? Do you get the feeling that if those were replaced with cappucino brown, she’d go all five-star dark golden?
Down below…now we’re talking. Pageant Queen makeup has no place here. Pink isn’t right regardless of complexion depth.
Strong flavours. Mustard, spice, vinegar. There is nothing nothing wishy-washy here. A T-shirt and pants?Â I hope they were free. This is the legging and the dark cognac equestrian boot, the tribal print scarf and ethnic earring, the leather vest, the heavy medallion necklace and the oversize belt, the bronzed burgundy suit jacket. Like a wine cellar, it’s a Season that acquires itself over time. You should hear the drums, taste the wine that fills your whole head, and feel the heat of the forge.
Fabrics don’t have to be completely stiff or lines utterly straight. We’re dressing womens’ bodies after all. Drape is better when it’s not overdone and the fabric has some depth, like heavy velvet curtains.
Wear prints like stained glass. Â Patterns are pronounced, definitions between colour blocks are quite distinct and strong, and colours are prominent. A Rubik’s cube geometric is too repetitive. An element of antique, abstract, indigenous, or unrestrained is good.
This section is taken from the Dark Autumn chapter of the book, Return To Your Natural Colours.
- One very light colour + one medium-dark to dark colour + one medium to dark colour as accent
- Two medium-dark to dark colours (or neutral colours) that are different
- One light, medium, or dark neutral + one dark, medium, or light neutral + one colour as accent
- One medium-dark to dark colour + one light, medium, or dark colour + one colour as accent
- Little use of complementary colours, in small areas only
- Overall medium-dark to dark effect
What that looked like in my head:
Dark and cool recede. Here, with dark and warm, a push/pull visual effect is created that adds tension (Winter’s complications) and interest.
If you think about it, you can see some clearing and cooling. Previous fluidity is beginning to set and stiffen. We have to add in the person, her warm chestnut to warm black hair, perhaps her faint red highlights, her bronzer and flesh-tone eyeshadow surrounding her dark chocolate eyes, spiced peach lips, deeply coloured stones in warm, golden settings, the purse and shoes, to fully appreciate the dark warmth. The viewer has a lot of colour to integrate.
Icy, cold colours make sense frosted. Muted colours don’t. Muted colours are gentle and calm, not metallic. Dark Autumn colours are barely muted, so gentle gets replaced with assertive and maybe even a little pushy. Sometimes, we worry that dark=power and light=weak, which may be true in dictionaries but it’s not how others see us. What others see is probably dark=force and light=ease (but not pushover). Dark Autumn colours wears metallic well in their warmest clothing and cosmetic colours since they convey the heat that smelts metal from ore. Metallics in their colder range are less successful.
Was your first thought when you saw the Polyvore, “I was expecting tribal and spicy. This looks pretty normal.”? It has to be normal enough to wear to the office. Try putting it on a light, sunny blonde and suddenly, if it’s not spicy, it’s at least truly weird. She’d look like she decided to wrap herself in a Bedouin tent. Your personal power is among the wonders of this world but it only works for you, and hers for her. Power fizzles like a wet match when you try on someone else’s.
So, you know your Season, you’ve been buying the right colours in clothes, is there another step? Always. Combining your colours in absolutely stunning combinations is another level. I am thankful to Stephanie, source of so many awareness expanders, for introducing me to Shigenobu Kobayashi’s books. In his Color, Image, Scale, he takes a big selection of colours and shows you twelve truly gorgeous 3-colour combinations with each one. Isn’t it interesting how 3 and 4 in the graphic above feel very different, beyond just temperature, simply from the change in accessory colour?
Whatever your Season, unless you’re incredibly creative, I doubt you’d come up with some of Kobayashi’s pairings on your own. I assure you that I wouldn’t. For Dark Autumn’s most striking use of complementary colours, insert a complement between two similiar rich colours in your palette. It looks fantastically good. TheÂ split complementary colour scheme is worth getting to know too. You pick three similar colours (analogous, colour wheel neighbors) and then add the complement of the middle one. It is worth scanning your colour analysis swatch book into a computer, or a photo of it, and using a computer program (Google it, there are Â many) to give you the complements, finding them in your Book, and writing the pairs on the back. Getting the complements exactly right sets up much more vibration than guessing and only being close.
Many Dark Autumns are darker than Halle Berry. How about this woman, wearing Dark Autumn’s version of white? From the clean whites in her face, you’d swear she must be wearing white, but white will grey her. It takes this colour to do what white does on a Â Winter face. How cool is that?
A straight body, straight across the shoulders, they walk stiff and straight, not Summer’s rolling walk or Spring’s sashay. Rectangular body, linear. Similar lines in the clothes.
Comfort colours, which are often food colours, are staying in True Autumn.Â Dark Autumn is wild and hot and passionate > red, of course. All the reds and oranges work. Complements also raise energy, with great opportunity to use them in dark and mysterious ways, as dark olive and burnt orange/red orange/browns (dark orange).
Something about dark grey can be very warm – as Bobbi Brown was thinking when she named her eyeshadow Hot Stone. MAC Copperplate eyeshadow is a heavy good grey for Dark Autumn. I used a dark grey blouse to cool the leopard skirt.Â A big thick grey block can be too heavy and stuck. Add a necklace, a jacket, the coolest bag and watch, maybe the leopard skirt. Give the eye somewhere else to go. Take care with animal prints.Â Buy the suitcase set or the wallet. Animal prints are like leather pants, they can work against you all too easily.
Jeans are good. Keep them dark without a whole lot of orange stitching.
Winter brings red and more black. Some of its blue is cooling the colours but you’re not seeing it as blueness yet.
The colour of Eva’s dress isn’t dark per se. For a light colour, it’s dark though. It has weight, substance, density, and naturalness. Maybe the colour is a little warmish and would suit a True Autumn more perfectly, but I give it to her anyhow for daring to be different so successfully. See how Alba’s above is a little cooler, a little glitzier, perhaps less burlap? The whites of Eva’s eyes aren’t quite as clear. Who cares, Eva took a step towards Eva and away from cookie cutter.
Eva Longoria Pictures
Colour is one half of a most beautiful appearance. Style is the other half. In the late 80s, David Kibbe wrote a book called Metamorphosis. He outlines 13 body types and goes into great detail about every aspect of appearance pertaining to that body type. Like Sci\ART’s 12 Tone Season system, Kibbe’s is a logic system that works for me without being overwhelming or impractical. Yes, it takes time to understand and implement but when it’s right, the result is incredible. Geometry comes out of the features of your face like colours do when your palette is right. The book is so good that we talk about it a lot in our Facebook group. The next section may seem confusing without having read it.
The Dark Autumns I have met have been some type of N, C, and interestingly twice, G. They look like they have black in the way that they look like they have drama but they are more square than angular and sharp. The clothes and fabrics above are all structured because I have those women in my head when I select clothes.
I ask myself, what does a Theatrical Romantic Dark Autumn wear? Â I searched and searched and found one I liked. Those who read RTYNC know that for me, certain colours make sense in shapes that evoke feelings and patterns we are familiar with from Nature. Of course, there are as Â many versions as there are women. We all own more than one cookbook. None of us owns a cookbook from which we make every recipe, even from the very rare book where we tried them all. All I’m saying is that colour is more than just colour, the same colour on me and on you looks and feels totally different to the audience, and we all have a different idea of what looks good.
I looked at that dress (off shoulder, center, bottom row) for a long time wondering if something so filmy makes sense in a food and earth colour. How do you feel about it?
Einstein said “Imagination is better than Knowledge.” Turns out it takes a lot more imagination to be yourself than to be someone else. I love about Kib and colour that both only want you to stay true to who you were meant to be because you’re already her. You really can’t not be her, ever. Your roots grew a tree that is perfect and like no other. Forget cookie-cutter. Forget “I must be blonde or size 6.” If you’re clinging to those, you’re probably neither and people can see that. Why force your opposites to fit you? Knowledge of your colours and the essence of your body type is where you start. Trust the process of finding them. From there, imagination lets you interpret what hangs from your branches infinitely, always holding the truth of your tree. Renata chose the very adept Â words ‘emotionally grounded’ to describe how knowing your colours and your style feels. So right.