Pure season children can be the epitomes of their Seasonâ€™s personality. They havenâ€™t yet learned to temper some of their strong characteristics. They are not diluted by the blending with another Season that makes for a thousand unpredictable mixtures. True Â Spring is sometimes very random, laughter that bursts out, changes in subject you can’t keep up with. Others are optimistic. They will see the bright side but can be very quiet and reserved.
Bright Spring usually is very true to that type, snappy, quick, and friendly, though sometimes have softened their clothes to such a degree that their behaviour seems quieted too. Can clothes do that? I think so. A haircut can change how we act. Heck, just move the part in your hair to the other side of your head to shift your center of gravity.
Light Spring has Summer’s self-discipline and Spring’s moxie and audacity, which can leave you wondering if you’re seeing Autumn’s determination instead. Both can appear spunky, where Spring is often more spirited and Soft Autumn more low key.
The party children. Playful, silly, unpredictable. Would shoot Grandma with a water cannon and say they were only aiming for her walker. As 2 year olds, it takes a lot of extended family to keep them alive.
spilling happiness ; the heart shaped face of the cuteness on the right, clear yellow skin, butter yellow hair like the center of a Laura Secord Easter egg, like the boots below, all True Spring
Favorite topic is themself, whose isn’t, but theyâ€™ll talk about anything. Go to the bathroom and get a drink before this child gets going because they donâ€™t turn off easily. Grownups that can talk for a long time often have a Spring+Summer mix, because Summer might start out quiet, but they have a lot they’d like to share. If the story comes out in a timeline, they got a bigger sprinkle of Summer’s fairy dust. If there are many twinkly smiles and jokes, not taking anything too seriously, and really rather be moving than talking, more likely True Spring.
Donâ€™t get hung up on every little emotional upheaval.
Will play any game at any time with anybody. No rules? No problem. Who needs them? Staying on task to complete a chore? Now, that may be a problem.
Will stand in a spotlight with a bucket on their head if it gets laughs. Laughs and applause is even better.
these boots will find a puddle that will pour in over the top before they get home ; notice the butteriness of the yellow colour, these are True Spring’s yellows
Will get caught behind the couch at Christmas eating candies with the cousins he talked into joining him. Heâ€™ll squeal and take off to commence the next antic, like eating his brotherâ€™s pet fish. Who can get angry with such a happy kid?
Has trouble choosing. Donâ€™t ask which of 4 kinds of juice she wants unless you plan to be there awhile or donâ€™t mind giving her some of each.
Walk in a pouring rainstorm? Sure! Might meet a bear? Great!! Pirates? Better!! They will be friendly bears and pirates in this optimistic and imaginative mind.
Donâ€™t need every kid to agree. Whatever floats your boat. Would prefer not to be told what to do in return. Can dig in their heels with the best of them.
these children both appear to contain Spring; Sophia Grace – Winter influence ; Rosie – Summer influence
Spring finds reasons to get along. If things get tense, they’ll make a joke. Summer will soothe and facilitate. Others might put up their dukes.
Spring windmills on an Autumn background – and why Spring + Autumn Season blends make no sense to me. How do you shop for “upbeat functional”? how ‘not harmony’ feels
If a True or Light Spring is late for her appointment, when she arrives, she’ll sashay on up the walk, apologizing, floating along in Spring and Summer’s unhurry. If anyone will break down the stereotypes, it will be True Spring. Her iris pattern won’t always follow the rules, in that it contains only blue and grey (no yellow) and much Winter line geometry. Her character may be very gentle and quiet, yet still brimming delight. Her hair might be blonde but it’s usually Â medium brown. Her eyebrows can be darker than you expect. There is often a pinkish brown somewhere, like the outer part of dry ginger root, and it makes a good eyeshadow that flows really well with the hair colour.
May have learned to blanket her natural sunshine to match all the seriousness around her. She may have forgotten that we need her easy laugh over the smallest things, to brighten the room, the meeting, the world we live in. Serious has nothing to do with smart or kind, just as kindness has no connections to brains or power. Â And neither does bubbly. Buy her a Flower Power purse at any age .
With optimism are bundled hope and faith. She is not a skeptic, a cynic, a pessimist, or a logician. The world would feel better to her as a simple place where faith sustains and guides, traits for her to honour and express openly. Buying into the myth that grownup=dark can make her feel restricted all the time, like a wearing a bandage that’s too tight when she’s already healed. When she lets herself be herself, it feels really good to be around her. When she’s trying to fit into all the dark seriousness around, I get this crazy feeling of wanting to cry. She holds the most beautiful attributes of the Forrest Gump character, to me a movie that was not about handicaps of any sort. It was about never giving in to bitterness. Forrest knew in his heart that honesty, unwaivering intention, and compassion to a pure, near childlike degree, can simplify life. He knew that IQ, success, and kindness are not prerequisites of one another.
Bright Spring is the Valentine’s Day box of chocolates. More glitz, bigger show, great flash, still delicious, lots of sweet centers. It crinkles and pops right back into shape. Too delicate to survive a year in storage, just won’t come out the same, very in the moment.
Bright Spring incarnate, as if she couldn’t be real, from a make-believe place
Not sure other analysts would agree, but in the presence of incongruent colour, Spring faces appear to become very asymmetric, almost taking on a Picasso quality. On all of us, the lines on one side of our face are straighter and more curved on the other. On Springs, it can seem as if one side of the face is set an inch lower than the other or the straight/curved comparison magnified. Sometimes, one side of the face or a single feature appears collapsed or even receded backwards relative to the other side. It is one amazing sight to behold with your senses and know at the same time that you’re in the grip of a powerful illusion.
Light Spring hasn’t had a theme song yet. Here is a suggestion.
a beautiful face, very expressive eyes, and the anthem of hope and happiness that Spring extends
Everything about life is nothing short of miraculous. Perhaps most awesome is the body’s and our planet’s capacity for healing and renewal. Spring embodies this most extra-ordinary and wondrous gift, the reminder she offers us just by being here.
that’s a nice True Spring grey, you can see the yellow sun
Smiles easily and with genuine pleasure at greeting or interacting with people, even as adults. This is a trait often seen in Spring men. You see their teeth much more often than men from other Seasons.
If straight hair is your natural texture, then wear it that way. If it’s curly or wavy, try doing what you keep reading about …let it be itself. Forcing straightness on Summers (where hair looks so much better with swoopy curls on the ends or wavy ripples like the surface of water), on Springs (where energy and spontaneity look so good and true in the language of hair), on Gamines (whose punchy natural style should not be constrained, whether a suit or straightened hair), on Romantics (where the stiff hair is not consistent with the softly rounded features)….for those of us looking at you, it’s the difference between tension and relief.
True Spring could find beautiful makeup in Lauder Apricot Sun lipstick, MUFE HD 6 blush, and MUFE 19L eyeliner. Lancome Rouge in Love 322M could be the lipstick that’s the natural colour of your lips.
Bright Spring might try Tarte Lust lipstain, Mercier eyeshadow in Â Pewter, and Dior Devilish Pink lips. Sheer and dewy (not frosty, which is hard-looking and works better on the 5 Winter Seasons) cosmetics allow Spring’s youth, glow, and health to shine better than matte and dry do. Lipsticks MUFE RAI 37 is matte and N45 is more sheer and glossy, might look better on the girl above. On mature women who want lipstick to last more than 15 minutes, use a product that doesn’t go darker, like Lancome Rouge in Love 377N on the cool side and 170N on the warmer side. A favorite of mine on Bright Spring is baby peach, a fabulous eyeshadow highlighter in Lancome Meet Me in Paris.
Light Spring’s face looks perfect in any combination of the words pink/peach/beige/miky, even as an adult. Dior Beige Casual lips, Body Shop 54 and 04 lipsticks, MUFE N35 lip and HD5 blush could be great.
A reminder that I will not be shipping the book, Return to Your Natural Colours, in the month of July. If you’re in the US, Kerry at Indigo Tones may have some copies. Otherwise, best to wait till August.
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.
Colour analysis is interior decoration of the soul. If we could extract our soul from our body and stand it beside us, would the two be the same? How beautiful is it when the things we wear are like a window that lets others see to our ocean floor from high up on their own mountain road.
So Bright Spring. Here we go. This Season…this ode to the magnificence of colour so beautiful, a heart aches.
The knockout that is Bright Spring, this woman often looks formal and dark. Once she recognizes you, her smile lights her face and she exudes warmth and charm. She looks much more complicated than she is. You expect her to stand on ceremony and convention but not at all. Her personality is quite informal. The simpler things in life make her truly happy and she knows how to pause and recognize them.
In 12 Season personal colour analysis, the Bright Spring is the person whose natural colouring is based in Spring’s spunky, sunny colours. Winter added a bit of its blue and red, but her inborn colours are not nearly as dark and detached as you guessed.
Like the fox, the seahorse, and the swallow, she’s busy when she’s standing still. She is sharp, delicate, and quite sweet, like spearmint. The yellows, oranges, and browns in her eyes (and Bright Winter’s) are the glowing, pure, peachy red-browns of the animal below, which we’ll see later in dark carrot pants and clear topaz stones. There is no sense of weight, darkness, or toughness. Quite the opposite, she reminds us that the most generously coloured life forms and ecosystems are the most fragile.
Thanks to Heidi for helping set the stage for us. It looks like Winter but it so is not. It’s young, modern, energized, over the top, waiting to dance, exaggerated, and it never stops moving.
If you live in the US, access this version.
Bright Spring Colour Â Equations
In the book Return to Your Natural Colours that you can see pictured in the right column above Recent Posts, a chapter is devoted to each Season’s persona, natural setting, relationship with the other Seasons, best styles, textiles, cosmetics, hair colour, and jewelry. There is also a section called Colour Equations (CE), a conceptual bridge between the Colour Book of swatches that you take to the store and how to translate into colour combinations. The CEs are helped by some illustrating.
Cheat Black In
No point pretending it won’t happen. And why not, but go easy. This isn’t a green light…and don’t accelerate for the yellow, it’s about to turn red.
Use the smallest real estate possible for the black and not right under the chin. Open necks are better. Just let black bring the picture into focus.
Break it up with a lively print.
Add animation as shine, details, and accessories.
Give the eye distractions. Use pure, juicy, colour so delicious that it can’t get bogged down in the black and keeps moving along.
If there’s blackÂ in the top, consider not wearing it in the bottom too – as the triangles top with the light pants. At its best, this look isn’t overall dark. Still, black and beige just can’t pick up any speed and on this woman. Compared to her, the clothes seem to be moving in reverse. The look is not creamy or gradual, because the woman never is.
Few Bright Springs probably guessed their Season right. They’ve lived as Winters for years, or some kind of Summer. Darker outfits (blue purse outfit on R) can look quite fine but serious and Wintery, where light is being pulled in. Take the same top and add light in everything else, white pants, yellow shoes, transparency in earrings instead of density – I think it’s better. Spring emits light.
The two models lower L – the Â blonde girl (perhaps a Light Spring) shows a dull way to wear black. It’s trying to own her. We lose interest in the girl and seem consumed with negotiating the black block. The woman to the R, very possibly a Bright Spring, wears similar colours in clothes with less weight and more movement. Bright Spring is not a heavy look, it’s like aluminum foil.
Like her Dark Autumn look-alike, Bright Spring is much better in black and cream (DA’s being a far darker browner cream) than in B&W.
If you wear black, choose warmth in your other colours and Â accessories. Silver looks more Winter and a little dry.
Green dress/yellow purse in the center – this print is quite random for a Winter person. This could feel unbalanced or zingy on some Bright Winters, and just perfect for the show biz energy of others.
Darks with darks can look too dark. Build an office look with greys. Add interest and entertainment, like the pink purse at the top.
Even Grey Should Be Fun
Light and energy must come out of it. Vivacity is always present in the face, the eyes, and the movements. They are quick and neat.
Textures and edges are smooth and shiny because the person is.Â Â The control of their Winter side won’t let them appear shaggy, haphazard, or erratic. They do look unpredictable and spontaneous. The song “Shiny Happy People” was inspired by Bright Spring. The cardi at top L is Lurex and you can still add colour and fun with the beads.
Every woman works out her best use of contrast on her own, it seems. A general rule for this group is to keep it high and clean. Outfits in various versions of the same colour don’t usually make sense (unless contrast is very high and/or edges very sharp), meaning distance between colour types and darkness levels is quite high. If she is older, the coolest looking lady at church with her white hair, dark brows, and turquoise eyes, she’ll bring these closer together to repeat what she looks like.
There is no true red. Here, we have clearest orange, many pure lipstick pinks, fuchsia pinks, and purple pinks. Red only appears in the Winters but you can cheat that in too. That red pants outfit, lower L – cover the silver watch and look at it. Then cover the gold watch. Isn’t that intriguing, that shift in what the eye notices?
Notice that the beiges are very very pale light, barely yellowed, not earthy browned. Rather like ‘icy beiges’.
A full grey dress (middle top) needs to be jazzed up with more colour. Sunglasses like those are small but they’ll get noticed and will hold the viewer’s gaze and attention.
Gold is good. Not too hot (yellow), very shiny.
If you look inside your eyes, many will see those dark carrot pants. So will many Bright Winters.
At the center of the lower band, see the girl in the grey blazer, two-tone shoe? Let your eye travel from the earrings to her face and across to the tank top. See all the repeats?
Watermelon and moon slices, outfit R side : On a person who looks polished and streamlined (your weight has nothing to do with it), pick jeans that are the same. Next to you, faded can look like a rag. Too dark is better than dusty, wrinkled, or patchy. Keep them ultra smooth and classy. And if you want to wear leopard stilettos (or flats), please don’t let me get in your way. It looks better than most other things.
Detail + Innovation + Restraint = Originality (Sp) + Â Discipline (W)
As you overview the collection, can you feel Winter’s presence? It causes Bright Spring to have a much tighter way of moving the body than the relaxed and unconfined True Spring.
Mixing silver, gold, and other shiny metals is fine.
If you wear black, taupe, and beige, make the print electrified and the cut, cough, distracting, as the dress in the top R.
Black and white have tipped over to Bright Winter, perhaps more so in the colorblock print at lower R, regardless of how hot the other colours are.Â Try to avoid pure black and white together. If you wear one, don’t wear the other. B&W only really looks good on True and Bright Winter. Even the Dark Winter could think twice unless she is very cool in her colouring.
Pure stark white pants are one of those items most of us must think about carefully. To me, they look right on the True Winter, Bright Winter, Bright Spring, and that’s about it. Take pictures of yourself and look at them yourself. You can see oh, so right and oh, so wrong within seconds. Light shoes are pretty good despite having dark hair if contrasting with the clothes. Not white pants and white shoes.
Don’t get too matchy. You can be as Classic-symmetric orÂ Gamine-irregular as you body’s lines dictate, but keep the humour good, free-spirited, Â and lighthearted. Even at a meeting, as outfit L side, keep shine and design interest in a grey jacket, wear a pink but simple watch, add dangle and sparkle in the earring.
Bright Spring = Lighting the Darkness
The icy blues and greens dress at top R – yes, it could be sunnier. Maybe this is cheating white. Wear pale gold earrings so as not to cool it further with silver. It could be more contrasting but that bit of black looks more at home on Bright Spring than anyone else.Â The print could be less watercoloured. Whatever. The dress is beautiful. Imagine seeing that woman on the dance floor. This is heart-stopping beauty that no other natural colouring could wear so well. Don’t take my suggestions too literally. They can’t apply equally to thousands of women. Make it work for you.Â The dress is also an example of high saturation light colours (Spring), without being so close to white as to be icy (Winter). We often hear “high saturation” and our imagination shoots right up to dark sapphire. High sat means not softened with gray.
Our red is a wardrobe neutral too, more out there than taupe but equally versatile. For the three Springs, traditional neutrals (grey, beige, taupe) can be too monotonous, like a dial tone voiced over a wind chime or a water cascade. No Â match found. Wear your colours a lot.
Consider making the clothing coloured and the accessories grey/beige/taupe.
Details are good. Orange starfish (with diamonds), not orange balls. A shiny cap on a toe. A star shower, not a single star.
Could Miu Miu be the designer? Â Something about this colouring is so very young that anything remotely kiddish accentuatesÂ a feature that already comes across very strong and you might not want at the office. I’d leave ribbons, little animals, peace signs, and hearts for after work or to the Seasons who could use some de-formalizing, especially if they work with the public. On any Bright Sring, the Winter aspect lends a seriousness and maturity that may not suit very young additions perfectly, but they wouldn’t be as out of place as on Dark Winter.
Springs have known all along that life really is this much fun.
David Kibbe’s book that amazes me more, the more I try to learn it, contains 13 Image Identities based on the shapes of your body and face. I stick with it because this is an image system I can get to work. Like colour, you can subdivide the groups to refine every individual individually if you want to, but even if you get your general category right, you are looking so much more like your real self. I’m amazed at his eye for what works on a body shape and how correct he was. Even about the smaller details, to get the most from this book requires hanging on his every word. Perhaps that’s why the artist stays hidden.
I can only hold four words in my head at a time and I repeat them over and over, the Shopping Mantras (SM). The details about shoulders and so on come later with the fine tuning. I still make mistakes like I did with colours, but it’s happening less, fast.
TheÂ Theatrical Romantic and Romantic
TR SM: intricate, delicate, sharp edges, tapered.
R SM: lush, flowing, circular, ornate.
The singer Adele is probably a Summer R, but I had the perfect True Spring Romantic model in Marilyn Monroe. Problem is, I don’t see the clothes on her very well. Not sure where I went wrong, maybe it’s all too Natural. Or maybe it’s fine for the real Marilyn that her family knew.
Important Note: About the Poly below, Deana brings up such a great point in the Comments below that I want to be sure everyone sees it. She noticed that the pink of the R dress on the right isn’t in her fan. She is right and her 12 Tone fan is right. The pink of the dress is not warm enough for True Spring. Even the blazer for TR with the green pants is just borderline warm enough, perhaps more of a Light Spring colour. True Spring is too yellow, causing their pinks to move into coral and nectarine. I can’t always find the item, the cut, the colour, kind of like a day at the mall, so I compromise and agree that a True Spring could do better.
Dramatic and Soft Dramatic
D SM : crisp, angular, tailored, long.
SD SM: bold, ornate, lavish, draped. Puts Jessica Rabbit in my head.
The D blue dress- it’s too fussy? I couldn’t find the column I wanted. This one seems long, lean, spare of colour and design. Could its length outweigh its delicacy and tip it further towards ultimate Yang, as happens in the proportions of SD bodies?
No, I get it now. The problem lies not in the degree of fuss but in the fabric: it’s not crisp enough so the angles that the folds generate are not sharp. On a D face and body that is all sharp angles, these round, flowing folds don’t match. Not just that, there are so many of them that the inequality gets even more emphasis. The halter style is better.
Who is that blue dress right for then? A FN would be my second guess. It fits the geometric, asymmetric, rounded edges, rectangle, suggested for FN, and of the “narrow and slinky” dress description. It’s still string bean and banana shaped, though I can certainly see it on Princess Di. Or is the dress right for no body?
The Dramatic Classic, Classic, and Soft Classic
DC SM: sleek, angular, geometric, straight. Bends are tight, but not necessarily acute angles. Not a circle and not a lightning bolt. I wonder if the yellow dress is too asymmetric but I’d wear it. Trimness is important, the teal shirt would have the side seams taken in so the width at the hem is less than across the shoulders.
C SM: smooth, slim, symmetric, moderate. I had to put in that purple trench to add interest to all the controlled and moderate. The woman who was my inspiration for many of the Allow Yourself To Be True Summer -themed articles is also a Classic. She longs to break out, tries shiny trenches and patchwork jackets. It’s good to know how to break your own rules harmlessly. There will be those days.
SC SM: unbroken, curved, symmetric, softened. Unbroken means smoothness both in lines and textures. Soft = supple, smooth, flat, silky, downy, round, decorative, whispered, gentle, sensitive, sentimental, sweet.
Lately, I really like shiny, pinky copper on True Spring (4th strip, first and second dots if you have a Sci\ART Book), like metallic apricot (as opposed to SA’s sueded apricot).
The DC ring is curvy but I’d wear it for the head of the Cobra shape that imparts the sharp leitmotif of the group. I was also trying to repeat similar shapes for all the C’s to keep the head to toe continuity Kibbe recommends.Â For C, I paid more attention to symmetry than colour continuity. For SC, I added more romance as softer lines. For DC, I used more colour repeats. Continuous smoothness of texture also supports the appearance of an unbroken line.
DC has a bigger hand, mine is quite square, and seems to need a menswear or bigger watch. SC is the dish soap commercial hand, the cheese sauce for the broccoli Velveeta hand, perfectly symmetric in length and width, rather than the small-and-wide of SC as roundness arrives.
N SM: slim, straight, eased, simple.
FN SM: vertical, horizontal, bold, blunted.Â Remove belt from colourful green dress and wear cool white belt low slung for the desired dropped waist.
SN SM: rounded, relaxed, shaped, creative.
The use of texture and separates seems a big difference between N and C, to bring the asymmetry of a more natural, less controlled world to the Ns.
The FN dress – too floaty? It does fit with “Free Spirit Chic” of FN. There are so many similarities in the ergonomics of the Sci\ART colour analysis and Kibbe body geometry systems. If you avoid what you shouldn’t wear, that’s you 90% better. As long as you pay attention to the Avoid: section, whatever’s left is probably quite decent. Since it’s not ornate, fussy, crisp, severe, or fitted, I figure it would be OK on Jessica Simpson.
Green cardi on N worn open neck with those nice beads that my eyes would get glued to.
Between SN and SC, the lineÂ is tricky for me. Both are the most fluid and smooth of their group. Poly 3B below shows my attempt to compare the 3 Classics and 3 Naturals.
For FN, I tried to go with strong horizontals and verticals with fancy stuff kept low on the body. Between C and SC, and N and SN is a transitional style that seems either could wear. Yes, the SN dress is a Soft Autumn colour, we can just pretend it’s juicy instead of earthy.
These are the clothes you lift off the rack and think they were misplaced from the kids’ section. They’re hip and clever, have lots of personality, are very chic in a small way, and you wish they made them for bigger bodies. You try them on just in case they look as snazzy as on the hanger, and in the dressing room, say to self in mirror “Your are no Paul McCartney. Must remove these in case there are cameras in here.”
This woman could wear red Capris to the office and look great. She’s the only one who can wear tight ankle length pants with a bold plaid print and just look better, while everyone else just looks funny-peculiar. Her Dark Autum rendition is among my dearest friends. Â I read the book. Now, can I dress her with vague images of go-go dresses, Carnaby Street, Parisian waiters, sailor outfits, and Madeline’s school uniform floating in my head?
Those are images are off though. This is small in size to give the sense of quick and clever, like squirrels, but not childish at all in design, not Peter Pan, Alice, or jelly beads. I’m feeling that it will take a miracle on the order of the loaves and fishes to figure this out, as if being told to find something without being told what it is.
G SM: small, crisp, skinny, outlined.
FN SM: short, sharp, fitted, extreme.
SG SM: detailed, crisp, rounded, fitted.
The pictures of the Asian women in FG and SG make a good contrast. The cream blouse on the SG is too floppy, I think. In fact, it’s probably the blouse on the model in the right that would be right, but I found none. The Gamines really need a seamstress.
A G could actually bring in some black (might have to to buy anything). Black evokes a rule-breaking approach to life that seems almost necessary.
Those FN shoes, you must admit they’re ‘irregular and chunky’.
Kathryn suggested FG as lines contradicting and intersecting in opposing directions. I thought that very clever and held on to it as I made choices.
All the detail would have to be added with accessories, because contrast and piping don’t appear in today’s mass-produced garments. Accessories would add asymmetry and sharpness. Unmatched was a buzzword I used when scanning so that every piece drew attention and didn’t blend overly well. I sensed a personal “you either love it or you hate it” polarity towards these items and outfits, perhaps the extreme Yang and Yin of the Gamines. If jewelry was staccato, it had to be almost obnoxiously so. By the time the outfit was pulled together from the items that matched the guidelines, I got the “OK , I get it already” reaction that I’m learning to expect from Kibbe. Really, I love this man’s vision.
The previous article was about settling into the mood. We looked at some landscapes to help us get the human face and all the emotions it evokes out of our decision-making. The brains of women especially go into an overdrive when we see faces (which is why advertisers make a point of using a face or at least a set of eyes in ads) that make it very hard to be completely impartial about colours to include or decline from the scene. It looks good, right, and real when the woman, her natural colouring, the colours she’s wearing, her own style, and the style she’s wearing, all point in the same direction.
We also decided on the neutral colours are that will be the spine of a work wardrobe. Spring looks so good in colour that ‘neutral’ was expanded from grey/beige/brown/taupe to include navy and your darker green, which are the suits I’d choose. I’d also add blush and pale peach to the light colour choices.
First thing: You Don’t Have To Be Perfect.Â (Or: Don’t Let What You Can’t Do (or Find At The Stores) Stop You From What You Can Do). We could have an ID bracelet : iLearn. iAdapt.
The face, the woman
Let’s bring in faces. Who are we dressing?
Taylor Swift Pictures
Her new hairstyle (hippie looks excellent on Spring) and lighter makeup are beautiful. I always saw her as Light Spring but wonder if she might be True. This hair colour is too ash (ash being comparative, like all colour is – her hair isn’t ash brown but it is greyer and dustier than Goldie Hawn’s) and could be more brightly yellow and maybe a bit darker. That and the muting of the dress are causing her to lack bone definition. The face blends into neck. The center of the face is blurry. There’s the feeling that the whole is a bit anemic, of wanting to step in with a brush and add more colour. Then again, maybe it’s all lighting. She’s still so much better than she was.
Taylor wears a simple, young, natural style that suits her and looks like what she represents. All the signals point the same way. That feels secure to look at. We are given every reason to trust that she is who she appears to be. In a business setting, especially in sales and teaching, this matters a lot. People are much more open, both sharing and receiving, if they’re not expecting you to play a wild card.
60 Minutes is the only TV I watch so I see Leslie a lot. I find her very beautiful in her expressions. She conducts an interview with curiosity and interest, not a fact finding mission. One of Spring great assets is their charm. Because Spring can look so young, age bestows a power and confidence that the young may not feel easy to own. Below is how a True Spring looks wearing Light Spring colours: better than many other choices but somehow not enough the balance her. She is more colour than what she’s wearing. Notice the Â Suzanne Somers- type face proportions. True Spring was assembled to look best when they’re smiling. You see twinkling eyes, dimpled cheeks, beautiful teeth, the natural disposition is just to be happy.
Give her heat, anybody’s heat and it’s better because heat is the TMIT for True Spring. The eye colour is more faded than it needs to be but that’s just a little colour adjustment to bring them up to the level of the hair and lip intensity. I often feel that I’d be happy to know her and be in her presence. Looking at these Spring faces, who wouldn’t?
Ivana – love her lipstick, dress, and necklace. A woman who knows what looks good on her never goes out of style. Perhaps the blush is a little cooler than the lips, bah, she still looks great. True Spring needs a lot of cosmetic colour for their Â magic to happen. Nobody can outdo them cream skin, lagoon eyes, clear apricot cheeks, and pure coral lip colours, all swirling around. Colours aren’t too blended because they aren’t on the natural face. Ivana’s lips, cheeks, and eyes are distinct (I’d even define her brows more). I’ve said Ivanka, her daughter, may be a True Spring and she has some of her mother’s qualities, but her voice is deep and her manner blunt, more Autumnal. Who knows?
By comparing the neighbour Seasons of Light Spring (the natural colouring made up of True Spring’s base palette, then cooled and hazed by a wash from Summer’s, so 2 True Season parents = Neutral Season) and True Spring (the natural colouring defined by pure, light, warm, yellow-based pigments), you can see the size of the visual heat shift. You can see darkness and saturation shifts as well when you look from one Polyvore to the next.
For the good of the group, Spring, wear more colour than anyone else. It’s a good rule, rather like ‘always be the most sober person in the room’. For the office, keep the number of juicy colours to one big block and one little one, which could be lipstick or earrings, a watch or scarf. Try keeping the very colorful items near you but not on you if you feel too much at first. A colourful jacket or sweater you can drape or carry, a clutch or wallet, a hair accessory on the back of your head, shoes, a laptop case, it all counts if it’s seen in your vicinity. Colour signals confidence, creativity, imagination, sensitivity, and an open-mind. If I’m hiring, those and self-motivation are what I’m looking for because they’re near impossible to teach, learn, or implant.
Use grasshopper green and goldfish orange. All of us, so often, the TMIT of our Season is what we’re busiest suppressing and covering, the thing that makes us most special that we downplay. Being a toned down version of our TMIT makes us usual, average, and hidden. It seems we do it without thinking, and yet it’s the unique features that we love most about others, that define them, not the traits they share with the rest of us. Â If True Spring does wear mostly neutrals in clothes to work, make every accessory coloured within the limits of the boardroom. While that may look too fanciful on anyone else, on a Spring, it’s a woman who knows what suits her.
All-one-colour looks too quiet. Analogous colours are too gradual.Â Spring jumps around more, facial expressions changing every few moments. The person looks like a lot of colour and is better balanced when dressed that way. Of course, nobody looks like a lot of colour right out of bed. Most humans look like variations of brown. We don’t sit at the Food Court and see the yellow-based people. If you stood everyone side-by-side, you’d see the yellow ones. Dressed in their best colours instead of the colours of pavement that are favored these days, suddenly everyone looks different and more like themselves.
For the Polyvores below, if you visit the site, you can zoom in and take a better look round.
Â True Spring
Be unexpected. A blue that has a trace of violet. A coloured shoe. Wear the coloured skirt or pant and neutral top or vice versa but wear colour. Keep the cut conservative and the size of the vivid block controlled.
Purple is so important on Spring, but like yellow and orange, can make textile or garments look less quality, so make these your most beautiful purchases.
The daisy print is saved because the centers aren’t yellow. The grownup version of kids’ items looks superb – hairbands, patterned tights, beads, all very workable in neutral colours.
Not tortoiseshell, which looks odd to me on everyone but the 3 Autumns. Coloured plastic better.
Avoid fabrics that mute or dull colour. Pick fabrics with a little shine in one element of the outfit. It’s pretty because you shine a little. Also, it adds the sensation of movement just by breathing, which keeps shifting the light play.
If the outfit is neutrals, make the accessories colourful and the makeup glowing, vibrant, alive. Neutral colours don’t belong on True Spring faces and nor do shy lips, which True will turn gray. Just to simulate the natural lip colour for a no-makeup look, it takes a lot of pigment. Neutral colours do belong on Light Spring faces – grey eyeshadows, softer blush, and apricot and beige lips.
Don’t wear darkest with darkest, especially Light Spring. The overall value effect is light for the Lights and medium for the True.
Wear green.Â It’s excellent for those of us looking at you.
Liven up neutrals by finding them in prints. Coloured buttons are good.
Why all the solid colours in the collections? Because I don’t see prints I like. I was asked to do florals for the 12 Seasons. I’m sorry, it would take years. Wear them if you can find them. Prints are great on Spring.
Consider that neutrals are a bigger challenge for Spring than colour and for True more than Light. Look at navy, your darker turquoise colours as pant, suit, and skirt colours. Widen the meaning of neutral colour. Some analysts consider your red among your neutrals.
Coloured coats, trenches, and jackets look good on you.
Keep the overall look relaxed. The dark suit looks stiff and heavy. Spring isn’t wrapped that tight.
Play to your strengths. What is it that Spring knocks our socks off with that nobody else can do? Yellow-green. It’s uncommon, it looks like the new leaves we wait for each year.
Don’t match too much.
Wear lots of accessories. You know how children can wear a candy necklace, several bracelets, hair clips, and look fabulous. Spring has a lot of that.
Never dull down Spring in any of the 3 colour dimensions. A True Spring who compromises saturation or darkness level looks pale, floury, grey, with doughy bone structure and no angles in the face. True Spring is looking for warmth first, yes, but pure pigments and enough darkness really do matter too.
What about a print with white in it? What should come across is sun. Even a little white can look too crisp and drain you as the Bright Spring drapes did. The two turquoise tops in the upper left of the Polyvore – see how the one to its right has more warmth of a yellow type beaming out of it? The dots one on the left is cooler in the colour, and cooler still and sharper by the white, Â no primary sense of sunshine, looks more Bright to me.
True Spring goes darker than Light. Experiment with it. If you overshoot, it’s not a big deal. If a Light Spring overshoots, even far from the face, the whole picture is weighed down.
Beige yellow, butterball yellow, not cool yellow. The yolk in those Laura Secord Easter eggs. For zingy days, wear it with purplish blue and pretend you had no idea what purple and yellow do for each other.
I wouldn’t wear red, orange, purple pants to the office but would in a skirt with a cream or beige top. Consider more stuff at the store tomorrow than you did yesterday.
Wearing a busy coloured top? Make the bottom be one of the colours in the top rather than adding yet another colour element.
Mod looks great.
Orange can be a colour that preoccupies the eye, maybe just my eye, but it’s very at home on Spring.
The brown dress – too muted/orange/Autumn? Maybe it’s on the line. Wear it with the Spring orange cardi to pull it over to Spring.
I love blazers. Love them. You won’t wear your red lips to work, favoring nectarine, but wear your red blazer. It looks awesomely strong. Wear it on Casual Friday to stay office-worthy.
Much like True Spring but a lighter colour stamp, since the Season’s TMIT is that colours be light.
Bit more monochromatic than True Spring but still lots of colour. A pink blouse and a turquoise sweater look fine. Since the article is about neutrals, I used those more but go the colour way if you like. We will be very happy looking at you.
The cooler yellows are gorgeous as are the cooler pinks.
Build your wardrobe in the next few months, even buy your Christmas dress now. You’ll be happy in December.
Light Spring Looking Serious has a lot more information about this Season.
We still need to superimpose the Polyvore below on top of those we just looked at. That’s how much the audience has to connect. We are like a 1000 piece puzzle to look at. So amazing when all the pieces fit, so obvious when one doesn’t, somehow our eye goes right to it. Imagine a black dot floating in those collections. You would see nothing else, you’d just stare at it moving around like some kind of hypnosis, like the railroad tracks effect of black mascara.
True Spring on the left, Light Spring on the right.
In 12 Season personal or seasonal colour analysis, True Spring looks
- Yellower and warmer.The pink drop earrings for Light Spring are cooler pink and the metal less yellow. Belt buckles are yellower for True Spring.
- Brighter, which can translate to bolder.
- More pigmented or saturated (compare the green shoes – are they yellower on the Light side? Yes, but you’re always juggling heat/value/saturation at once and these are less saturated).
True Spring’s accessories can also take on more weight. That could be more solid (a heel), sturdy (fabric weight, a buckle), chunky (a belt), big (a stone), or wide (a strap). That bead on a wire effect in jewelry, it looks really excellent on Light Spring. Don’t be too literal or exclusive here, many pieces will work well in both Seasons.
From the book RTYNC pictured in the column to the right:
Colour Equations Light Spring
One light, medium, or dark neutral colour + one light colour or one medium colour
One light to medium-dark neutral colour + one lightÂ colour + one medium colour
Two light to medium neutral colours + one light colour
One neutral colour + two colours
Use of complementary pairs in medium sized blocks or with quieter colours.
Overall light to medium darkness effect
Colour Equations True Spring
One light, medium, or dark neutral colour + two brighter colours of similar area
One large block light to medium-dark neutral colours + one small block medium-dark to dark neutral colour + one brighter or lighter colour
One light, medium, or dark neutral colour + one bright colour + two other colours in small areas
Full use of complementary pairs
Overall light to medium-dark effect
We are dressing to look like we inhabit our natural space, looking like we were meant to look when we stepped into this world. The glow and vitality of perfect health and eternal youth are Spring’s claim to fame.
Once again, in 2 parts. Sorry, I get going, I cannot get stopped. This post will be about the True Spring – a type of natural colouring in itself and an influence on 4 other types of colouring, or Seasons – and seeing what those neutral colours are in comparison with True Autumn, the most likely baffler. Part 2 will be about working neutrals into an office wardrobe. There, we’ll compare Light and True Spring to see the size of the heat, saturation, and darkness shifts between them.
The only ensemble in which I could abandon colour for all neutral tones on any Spring would be the Light Spring in a selection of creams and beiges. This monochromatic scheme leans on the Summer influence of that Season and it looks really good. The Bright Spring needs more contrast. The True Spring needs more colour.Â Colour is so in place and at home on Spring that we miss it when it’s not there. They absorb it into their body the way Summer does blue and Winter does contrast. Colour is as necessary at the office as on the beach.
One Light Spring said,
One thing that I struggle with a bit is integrating the neutrals and the colours of the light spring pallet. With light summer, the greys work beautifully with the brighter colours of the pallet but I find it hard to wear the browner neutrals with our colours. I tend to wear a colour (or two) with blue denim, a neutral (or two) with blue denim, a colour (or two) with cream or ivory, or two or more colours. I can’t seem to make the leap into mixing a wide range of my neutrals with the colours. As an aside are white jeans doable for light spring, should I only look for cream?
Before I forget, I’d go for ivory buff or light grey in jeans rather than white. The effect of white can be bit like black in that it gets bigger than it actually is if it’s not balanced. It can twinkle in places where most of us don’t have that outcome in mind.
We looked at Light Spring landscapes in Light Spring Looking Serious. The white needed to lighten that palette makes many colours appear milky. Not so in the misty Light Summer or the clear, pure True Spring.
The whole series of landscape articles came about as a way of seeing yourself the way the rest of us do and to objectify what you add to the picture. Which earrings belongs? Which lipgloss doesn’t? True Spring’s landscape…Â tulip fields? For sure, but watch the saturation. As beautiful as those are, they can be such a riot of red, orange, and yellow that the image screams COLOUR!!!!! instead of sunbeam hugs Â True Spring is an easy, playful caress, not a blood pressure spike. True Spring is warm and yellow above all. Imagine the difference between the coral reef and the crayon box. ColourÂ is not shocking, it’s freehand and sunny. Yellow light is radiating from every pixel of this picture. So would the person to look young, healthy, and tuned into their own frequency.
Spring generally does not care for suits, feeling too constrained physically and mentally. Â They’re not sure where life will take them next, want to make the choice themselves (but may have to overcome wanting every choice), and will resist any restrictions on the possibilities. Even in a perfect tan suit, it can look bland and more mundane than the wearer. The opposite can be true too, where a Winter in their suit looks more imposing than the wearer is or wants to convey. Blazers are in right now. It’s a good time to create some inspired jacket/pants combinations. For situations where a full suit is needed, I would choose your navy over tan unless you find the tan suit that articulates enough light and interest to not look like menswear. Blue would look snappier.
Spring’s stereotype is to have their extroversion translated as effusiveness. Not quite. They have caution and shyness. They are not diving into waterfalls any more than anyone else. Spring is not giddy or superficial, though deep philosophical conversations may feel lacking in wit if they drag on. The extrovert functions best when surrounded by other people. Spring will be bored at a conference alone for a week in a strange city. Winter may feel oddly energized by the freedom from emotion that strangers allow, like they’re living a dream ..oh, wait, we’re not talking about me here. Spring is less likely to exercise alone at home than the introvert who thinks and decides inwardly and moves away from extended contact time with others.
Every Spring I know, all 5 types, has a pure and unaffected sweetness. When they smile, they can literally light up a room, so much so that it takes you by surprise. Attire that feels like this
while superb on the right woman, looks bland, repetitive, dry, hard, and monotonous, that is to say, wooden, on Spring. There’s just not enough going on for a person who feels like this to look at
and maybe this
Spring, all five Seasons whose natural colouring has those attributes, has a necessary delicacy and lightness of touch. Like the mimosa, the leaves fold when touched. That anything so tender and sensitive could live in the first place, and more, share a beauty that seems other-worldly , even for a moment, this is the wonder of Spring.
True Spring is emotional with feelings that run near the surface. They are also deeply spiritual, whatever their Creator or Source image happens to be. For a being so sensitive, to be brought face to face with the question we all ask, “What is my purpose?”, not knowing the answer or knowing where to turn can be very debilitating. True Spring takes life very much to heart and can be worn out by life’s complications, wondering why things can’t just be simple. You’d think everyone would want that but oddly no.
Bob Marley. Sun Is Shining, the Songs of Freedom, Island in The Sun, Is This Love, pick one.Why can’t it be enough for life to be happy, easy, and safe?
Barbara J. Winter: “When you come to the end of all the light you know, and it’s time to step into the darkness of the unknown, faith is knowing that one of two things shall happen: either you will be given something solid to stand on or you will be taught to fly.”
Spring’s Neutral Colours
Let’s look at these colours, these greys, browns, beiges, taupes, and creams. Since any True or Light Spring who wants to look old and tired need only drape herself in black and/or white, I think of the darker blues as neutral colours too. Blue may have more colour signal than the other neutrals, but that’s on everybody else. Spring can wear a lot of colour before it approaches noticeability. Correction: Spring ought to wear a lot of colour. In some ways, colours are True Spring’s neutrals and it’s everyone else’s neutrals that Spring needs to plan.(Light and Bright Springs rely more on grey to be their neutral.) Because Trues share absolute warmth with True Autumn’s browns and greys, knowing you’re buying the right one can be hard.
Spring Neutrals Â Â Â Â Â Â vs Â Â Â Â Â Â Autumn Neutrals
peach brown apricot Â Â Â Â Â Â Â Â Â Â Â Â orange brown lion
clear beige sandÂ Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â brown beige cappucino
nearly greeny beiges Â Â Â Â Â Â Â Â Â Â Â Â nearly greeny greys
light and freshÂ sunny Â Â Â Â Â Â Â Â Â Â Â heavy and thick earthy
stout beer is darkest Â Â Â Â Â Â Â Â Â Â Â Â Â coffee is darkest
blonde, Palomino, flax Â Â Â Â Â Â Â Â Â Â ochre, umber, sienna
bunny, chipmunk, house cats Â Â Â Â bear, moose, wild cats, and often dog colours
yellow ivory, almonds Â Â Â Â Â Â Â Â Â Â Â Â antique ivory, old lace
wild chanterelles!!! Â Â Â Â Â Â Â Â Â Â Â Â Â Â cigars, light to dark
This Polyvore shows the True Spring (Left) and True Autumn (Right) browns and greys. Think about the diff between beige and camel.
- across the top left: a range of Spring greys with a bluer one on the right end to show you a Summer grey – how do you do this in stores ? Like for any other colour, go around and gather a bunch of items in that colour family. Even if they’re close, they’ll help your mind see which are the yellower ones, which are greenish, etc.
- center top L and R, side by side, the black ballet flats pants are Spring while the coral top pants are Autumn; greeny yellows are more Spring while Autumn’s greened greys look like army Jeeps
- Autumn will go darker than Spring; Spring will look good and make better outfits in lighter pants than Autumn; Autumn’s light colours are darker and heavier
- orange browns, mustard, red browns are Autumns; peach, blush, and yellow browns are more likely to work for Spring ; those in the center with the blue top, I could see on either, they have a pinker quality than the Autumn ones to the right
Words won’t really help you shop. Here’s the easy way: own your Colour Book of swatches. Own the Book of the Season that causes the most confusion, like True Autumn, though you don’t really need to. In the case of browns and greys, there are not many overlaps or similar colours except maybe among the very lightest. Why certain colours go into each Season doesn’t matter. I don’t know either. You’d have to be expert at mixing paint to have devised all those precise tones. If you match the Book as closely as you can and think about the overall weight the colour of the entire item conveys, you will be fine. The difference between 85% and 100% isn’t that important. The rest of the outfit will create a beautiful finished look.
Please allow me first to introduce Tricia, the woman who created these colour collections. Her ability to re-invent herself and hit the target with beautifully convincing and tasteful precision astounds me.
I asked Trish to tell you a bit about herself:
I am 35, I live on the Wirral peninsular, UK. I have a background in Biology and used to be a Infant School Teacher. My first choice of career at the age of 7 was a Make-up artist (after realising that Iâ€™d never be either a Ballerina or a Princess). I had my own make-up kit since I was about 5 and have always enjoyed giving my friends make-overs. I have a life-long interest in style anlaysis, colour analysis and make-up and plan to qualify with Colour me Beautiful this summer.
My Colour analysis journey began in 2007, when I decided that my dark Gothic look was not doing anything for me, and my interest on Vintage style clothing was growing. After reading all the available literature I could get my hands on I came to the conclusion that I was Clear Winter, which I confirmed with a CMB Analyst. The transition to colour has been fairly easy for me, but the hardest part has been accepting my yellow overtones and incorporating Springâ€™s warmth in to my palette e.g. I stopped dying my hair blue-black and retuned to my natural dark ash brown, I swapped my pale-pink setting powder which was made my skin look pallid, for a icy-yellow shade which added back the natural bright tone. I also experimented with peachy-pink blush and lipstick which I found suited me far better than the cool blue-pinks, plums and mauves I had been wearing (which made my skin look ashen!). A huge wrench for me was to drop the Vampy burgundy lipsticks in favour of bright pinks and reds which make my skin sparkle. I am still learning and each day I seem to learn new things about colour, which is one reason I find this subject so fascinating.
The Warm Palettes
In the previous post, we saw neutral (meaning browns and greys) and coloured eyeshadow and blushers for the Summer and Winter types of natural colouring, or Seasons. In this post, Tricia has assembled the same groups of colours for the warm Seasons of Spring and Autumn.
MAC products were used to create these sets. If you would like to know the details of a particular colour, please post a note in the Comments and Tricia will be glad to answer. She also has lists of many equivalents from MAC to Pretty Your World, Lora Alexander’s simply fabulous line of colour-analyzed cosmetics for the 12 Seasons. PYW eyeshadows are pure silk, as are the blushes, and you can compare a particular colour from Trish’s 4 Season groupings to where Lora placed it among the 12.
The Autumn blushes are called Sculpt, Taupe, and shaping powders which we’ve inserted here as Tricia acquires more of the colourful Autumn blush choices. These seem as if they could be used as excellent contours and sculptors by numerous types of colouring, with warmer and cooler choices. As great flesh tones, they remind me very much of the light and dark colours Kevyn Aucoin used to demonstrate where to place these products on a face to create a most incredible facial shaping, forming, and chiseling in his essential book Making Faces. The book can be bought anywhere. That image can be seen here, though the colours are more intense in the book.
Remember that there are Â many colours you could wear in addition to these. You may prefer a more colourful blush effect or a more natural or sculpted face. Look at these palettes and think about why Tricia included each colour where she did and what her vision of these Seasons might be. In the end, it’s your vision of your Season that will develop and mature, influenced by everyone else’s input, and finalized with your own.
Tension Vs. Relief
Learn To Trust Your Feelings
A fascinating draping experience recently.
A woman of Northern Italian descent. Her overall appearance was of a mid-range darkness level. From the nose down, she had an Old World Mona Lisa face shape. Dark beige hair and eyebrows (hair growing out an orange-red dye), light brown lashes. Her eyes are large and a green brown colour that glowed yellow if lit from the side. Baby perfect skin that seemed fairly clear, more translucent than restrained in colour clarity. Her mind could spin in three directions at once. This lady could change topics on a dime.
One of my reasons for loving the Sci\ART analysis system is that it self-checks as it proceeds. No Season is canceled until we have multiple sources of corroborating evidence, meaning many different comparisons that always gave consistent results. We were sure she was a True Warm. Our choices were down to True Spring and True Autumn.
This is where it got difficult. She was one of the few women I’ve met who was not even slightly drawn to Autumn colours. Â My gut feeling was always Spring in every contest. In the end, True Spring brought out a delicacy in the features that Autumn would blunt. We saw darker shadows under the eyes in Autumn drapes. The edge of the iris was fuzzier. It was the Spring brown that most intensified eye colour, not Autumn’s camel brown.
The dark haired True Spring won’t look like Charlize Theron. Lightness is not True Spring’s TMIT (the most important thing). Of course, even Seasons whose TMIT is lightness can have dark hair because hair colour is very varied among all Seasons. True Spring’s TMIT is yellowed warmth. The Season doesn’t get very dark but the colours that most folks associate with True Spring actually reside in Light Spring.Â When we finally wrap ourselves around True Spring’s palette, we say “Oh, wow, I didn’t get how much colour there is.” Most people would be physically fatigued after an hour of trying to match the energy of True Spring colours. When we’re dealing in brown, there’s a lot of brown.
The richness of colour and the high degree heat give True Spring’s colours much more intensity that we expect. The darker colours are so saturated that on a person of fair skin, they can appear to be fairly dark. Put that hair on the head of a dark person and it would look lighter, like sandy brown. The same colour that looks quite dark on Helen Mirren will look just medium on Sandra Bullock. The question we want to answer is “What are your darks? Which colours make up your perfect set of just-right-darkness darks?”
Natural hair colour isn’t always typical of the average for any Season. Indeed, there’s very little yellowed hair growing from heads over 35. If that colour were added to the hair, it would look great on most TrueÂ Springs Â but not all. Many True Springs don’t have Uman Thurman’s Nordic genes. They are inherently darker of hair and eye. Highlights are never a necessity nor do they flatter everyone in any Season. As we saw in The Emmas Are True Springs Part 1, the result of Â a PCA can be quite unexpected, and never more than for True Spring.
I try to think of resemblances because I often see people for 3 hours and never again. I can’t always remember faces for future email questions. Also, it helps us picture changes on ourselves if we can apply them to a look alike. This woman made me think of Lucrezia Borgia. There was a Renaissance quality to her face.
The facial progressions to find a modern day version landed on Spanish actress Sophia Valverde. She could be a dark Winter for all I know, but could you agree that she doesn’t seem an automatic Autumn? There’s a lightness of colour and a delicate bone structure. She is more streamers (Spring) than building blocks or bricks (Autumn). Is that just because she’s 20 and beautiful? Yes, sure, very possible.
Here she is as Lucrezia.
And another version of the same woman.
MarÃa Valverde Pictures
What does streamers and building blocks tell you about a person’s colours? Nothing. Season can only be known by in person draping. I’m not trying to prove Maria is a Spring. It’s just fun to think about. Have a look through this evolution of Maria. I found Picture 9 most interesting. Then, let’s compare her to Jillian MichaelsÂ (watch the video clip) and go through our Autumn vs Spring question list.
Who is an unattractive blonde? Maybe both women are. Jillian has great Autumn hair colour. Blonde would not be nearly so good, though not as rough as on a Dark Autumn. There, if she’s 30, she looks 50, and if she’s 50, she looks a much older woman, as if she’s frosted her hair with grey for some reason. The pale pink lip they put on Jillian looks grey, as every pastel does on Autumn.
Who feels like bricks? Jillian does, perhaps part of her media persona, but it doesn’t feel a big stretch. Maria looks to have a lighter, more playful touch.
Who wears corduroy, who taffeta? I’d suggest J and M in that order.
Who wears toffee lips, who clear salmon? I don’t see J in clear salmon. Maria? Well, I’d be open to either. You don’t have to know the answer to every question just as the winner in every drape contest won’t be obvious or easy. Maria in toffee lips makes me feel like I did when Leslie Stahl of TV’s 60 Minutes wore a curry lipstick. Goodness gracious, it wasn’t good.
Whose energy is best described by ‘solidly grounded’? Ms. Michaels definitely is. Maria seems too delicate. If one of these is the little coloured glass figurine that sits on a little mirror, it’s Maria.
Photo galleries are a good exercise in learning to recognize tension and relief. Don’t think about shadows or makeup and so forth. Only think about when looking feels most relaxed. Only think about where your guts don’t tighten up at all. Where do you need zero internal adjustments, where is it all acceptance and no resistance? Where is there no distraction of external stuff to process before you get through to the real person? Every time you change the photo, every time I change a drape, tune into your first response – did you feel a step forward or a step back? Maria’s gallery is here.Â Lightness or golden-blond, as the photo leaning on white wall never feels so good, too heavy or thick. Something about the long peach dress works.
Renata’s recent post on Ivanka Trump shows another woman who reminds me a lot of Maria. Similar face structure, like the singer, Dwight Yoakam. They sure could be Soft Autumn, but I’d sure be keeping True Spring in mind till they’re draped. Autumn women often have a deeper voice, as does Ivanka. But then, so does Scarlet Johanssen who appears Spring. Can’t go by that.
A most astute True Spring reader sent me this photo of Nicole Richie.Â That seems a True Spring red, maybe even Â more saturated than that depending on your monitor (which would push it into the Brights). I have no idea what Season the woman is, though the stereotype pushes you to drawing Soft Autumn assumptions and maybe that’s correct. I’m just saying that you have to stay very open to the possibilities.Â This colour doesn’t look completely overwhelming on her. She is sorry in black and sad in white, so are Soft Autumn, Light Spring, and many True Warm Season people. Have a look at this most interestingÂ gallery. AllÂ this yellow coming out of these eyes- who knew it was there?
Michelle Williams is similar. Many blonde hair green-eyed celebs like Hilary Duff and Kate Moss seem Soft Autumn to me. Not this woman. The pixie face, the general sense of lightness, dimpled cuteness and youth, Â speak to me of Spring. ‘Strong, solid roots’ doesn’t seem to capture her somehow. Ethereal, sprite, and fairy fit better. She’s not a great ash blonde, nor is she a natural blonde. See all the yellow in the eyes?
She is a great honey blonde.Â She can go incredibly yellow and just gets prettier.
Perhaps we haven’t learned much we didn’t already know besides illustrations of the difference between tawny (Autumn) and perky (Spring). And how hard it can be to see the difference and the many ways in which it got hidden. That’s fine. Seeing the infinite variations of beauty never stops inspiring us.
We often look at one another’s photos. The fascination and the problem with them is thatÂ until we see you in person and in your right colours, we haven’t really seen you. I find this with every woman whose photos I’ve looked at many times, then finally see in her right colours at a draping. It took those colours to fill in the Â missing blank, to express everything that that woman is, not just some parts of her. This is where the frustration of searching for your right colours arises, of trying to come up with that last elusive jigsaw piece. You know you haven’t been seen, or been seen as someone else, and you’re tired of living the half-truth.
One of the basic questions asked by philosophy is “Who am I?” But we get confused and uncertain, with age and media and so on. Eventually, what we are looking to answer is “Is this me?” Without knowing that, it’s hard to move on to answer “What is my place here? What is my purpose?” That’s what the woman sitting in front of the analyst’s mirror is looking to recognize. It helps her pin down “This is part of me. That is not part of me. The border between the two is here.” That’s why women want to know and understand their colours and how to express their colour language. And why it disturbs many analysts so much to hear that they’ve tried and tried and keep getting different answers. At least know that there are analysts as distressed by this as you are who aim to fix the problem, even if it means exposing it, discussing it openly, maybe ruffling a few feathers, and then moving away from these Dark Ages to a lighter, truer, more educated place.
PS – about a question on differentiating Spring and Autumn’s peach:
Spring’s peach can be found in a pile of cooked cold shrimp on one of those $2.50 rings you can buy, you know? You can perceive gentle white, young skin pink, and clear luminous yellow. And it’s moist.
Autumn’s peach is more likely to be in a bouquet of dried flowers. It will look duller and drier. If asked whether you pick up the same colours as the shrimp ring or let’s say, the presence of tapestry beige, brick red, and muted gold, you’d choose the latter.
In the Comments, Renata asked for a visual of the comparison. Huge thanks to Margo for creating the graphic below, a gift of creativity and time.
Note: I do not own the photos on this page. Wherever possible, they are linked to the site of origin. If you own these images and would like them removed from this page, I would be happy to do so.
These are the colours that my eyes like to look at best on the 12 groups of natural colouring, what we call Seasons in personal colour analysis.Â The serviceable greys and browns evoke less reaction, but they’re the scaffold the colours hang from. They matter a lot, though the colours below might be more interesting to look at. They seem to translate the meaning of the person into a new language form, like you suddenly see them in three full dimensions, almost extending beyond the boundaries of their skin.
Since I hang my drapes in this order, let’s look at the colours this way:
-Â a very light yellow green
- a clear blue, not purple enough to be periwinkle
- purple, which transforms Springs into someone you’ve never seen before
- with note that the aqua-turquoises for any Spring blend are a sure thing, just like teals are no-brainers in any of the 5 Autumn blends.
- the home of Jello colours
- every green is beautiful, but pure golden leaf green is such a proclamation of life on this planet, the interaction on True Spring colouring is phenomenal
- beige yellow, one of the hair tones, it affirms the delicacy that Spring always has in their behaviour and their face, like Joni Mitchell, so spiritual and creative and never ever over-bearing. Lovely people. In The Emmas Are True Springs Part 2, Emma 2′s face always reminds me of these qualities (and that artist).
- sunny orange red, and this is the lipstick intensity that’s needed or this person will dial less vibrant colours down to greyer and boring
- intense teal
- sharp mid-dark grey, which looks elegant and interesting as can be because the person is quite colourful, so it’s intriguing when the clothes play the role of quiet counterbalance without reducing the overall thrill
- the u-tone (undertone for future ref) blued rose
- their marshmallow white
- violet-washed sky blue
- clear red; muted colour can be hard to show in this format; it’s the cherry Popsicle
Â True Summer
- swimming pool blue, a happy colour as Ashley said so well, lovely and young on this skin
- pure rose
- dark stormy sea blue is very powerful, an essential in a business suit; add the whitecaps in jewelry, like filigree silver
- with honourable mention to the undertone, forget-me-not blue
Â Soft Summer
- antique turquoise, try to find it in pearlescent, it is simply beautiful in fabric
- muted dark pine (the best eye colour intensifier on every single person, if this trick doesn’t work, I’ll doubt the Season)
- pale mauve, it looks very pretty with every suit, feminine without being girlie which this Season does not identify with; it takes only a mist of pigment to have enormous effect when natural colouring is very gentled with grey, colours as soothing as the person (Light Summer and Spring are not soothing, they’re more get-up-and-go, somewhere in the sunny>> jolly>> spunky>>bouncy spectrum) (now I think of it, True Summer isn’t soothing either, or not soothing to me; if Winter wants control, True Summer wants precision)
- with runners-up burgundy and pewter, both very sexy masculine on the men
-Â brown; I like brown on this Season best of all, not a favorite on the other Autumns, though they certainly have brown
- some form of warm willow green (can anyone think of a better name? avocado, I guess?)
- warm muted yellow, they glow in this colour and never seem to have any idea, I find it really captures my attention
- chili pepper red
- their very green teal
- glowing hot gold, add a metallic thread
- blackened colour is so good; sometimes, the person seems darker than a Dark Winter, whose whiter whites and pinker pinks can make them seem lighter because they’re clearer; DA has light colours but they’re hard to find, would almost need custom-dyeing ;Â it’s amazing to me how the colour is quite coal grey and still so intensely purple
- my favorite being the black tobacco; the dark grey brown of loose black tea is also great, makes a fabulous eyeliner
- cherrywood brown, very defining colour
- battleship grey is always here, maybe because I love it, it’s the eyeshadow, it’s an essential neutral in a Season that wears them more than anyone to reduce the overall number of colour elements, and it looks real good; I’ve been thinking a lot about how the colours are made lately; interestingly, I made this one by making a balanced R-G-B-equal grey, like duct tape grey, then decided DW’s heat is Winter red and Autumn orange, but more red, so I raised that setting. So that’s interesting to some of us.
- those who read here know that saturated purple-brown-more-purple-than-brown is where my thinking of where DW’s undertone lives but undertone floats from warm to cool, depending on the position of the person in the Season. This deep currant is the warmer position. To make it in lipstick, use Lauder Mulberry Double Wear. Bite Balm in Claret is an outstanding way to brown colour without darkening it, something I spend a fair bit of time doing. This will get you to lunch, even with a cup of green tea and a client every 20 minutes.
- black-navy showcases the majesty best, but iced violet had to be here
- it’s B and W, not B or W, and more B than W
- dark purple blue, the u-tone
- icy pink, not sure why I always like this, perhaps it insinuates the high contrast of the extreme of youth and innocence in colour on a person that is ageless and enduring, solid and hard, the extremes of dazzle and hard rock reality
Â BrightÂ Winter
- sweet, funny, cute people, they need sugarplum purple
- always dimples or mischievous eyebrows (interesting, I see this more in the Spring/Winter blends, not the True and Light Spring), and BIG colour capacity, fantastic in electric blue, not too dark, hard to look away from; worn in a tank top with a white tank beneath, it looks really right
- the lightest of the Winter group; Winter red + Spring yellow makes an icy peach, my favorite of the icy lights on this colouring; they look great in iced white gold gloss over every lipstick, iced peach eyeshadow highlighter; to me, it’s gorgeous
Rarely do the people whose natural colouring fits into this Season realize it. When Julie Andrews played Mary Poppins, she portrayed the average of this appearance and character to perfection. Her hair was dark but the overall effect was of light and clarity. Even her speech and manner were clipped and brisk. She was elegant and groomed and made riding the carousel in a sidewalk chalk picture normal and natural, elegance and magic at once. In Mary’s world, imagination and reality were the same and make-believe didn’t exist.
The word Season describes your natural colouring. In the colour world, there are 12. A personal colour analysis tells you which is yours. Why use the word Season, it sounds so dated? Because you are a child of a planet whose landscapes change as it circles (actually, ellipses)the sun on an axis, and we call those changing scenes seasons. The pigments of your skin fit into certain of those landscapes without beginning or end. There is no me, there is no you, there is no line that separates us from our world. I didn’t make that up or believe it from a yoga video. They’re called mirror neurons and they’re quite real. For honouring and celebrating the amazing coolness of being here, Season is a great word.
Your pigmentation causes the same frequency and wavelength of light waves to be reflected from your body (because that’s what colour is) as those reflected from your seasonal landscape. Nature’s wizardry doesn’t end there. The waves that move in that frequency and wavelength can be absorbed by the retina of another being and create electrical energy that becomes biomolecular energy. This generates an image in the brain tissue of that other. Were that other’s eyes closed and you could stimulate those eye neurons in that same way, you’d generate the same image in their brain.
Season is not about how skin looks, it’s about how it reacts. It needs to be given something to react to, like drapes or makeup or clothes. Otherwise, I don’t have a clue. You could argue that human pigmentation can’t possibly be narrowed down to 12 groups. Sure enough, you could have 20 or 30, but at some point, a very powerful way of improving your closet and your bank account would be too weak to work. There would be too many similarities among them to make each unique. The fact is, an eye isn’t able to tell that many similar colours apart.
The pigments that make up a Bright Spring person look a lot like the True Spring colours, meaning they’re clear and pure, warmed by yellow, and fairly light. When those colours get mixed with a bit of Winter’s, they become even more clear, but less warm and less light. With input from 2 True Seasons, Bright Spring is called a Neutral Season. They have warmer and cooler versions of each colour in their skin, hair, and eyes, and so in their colour palette.
Though the Spring presence is biggest, Winter always deals a strong hand. Often, these people resemble Winters, have been told they’re Winters, and dress like Winters. Once their hair turns white, they move over to Summer’s wardrobe and would look better if they’d stuck with Winter.
With the great distance between the parent Seasons of Winter and Spring, the landscapes are as variable as the individuals. The colours speak to me as lush and wild, so the landscape the same, like a jungle. The overwhelming collective life force of Spring and the violence of Winter co-exist. Winter places a cool veneer on the surface but the invisible reality is of life energy gathering force to sustain the frenzy of freedom and bloom that is coming in True Spring. Tension is building, for when this spring uncoils, True Spring will very truly have sprung.
These people have a thousand variations. My picture is pretty hot, or at least building up a lot of charge. AC pictures the melting snow running among the newest flowers. In the comment dated August 23 following The Brown-Eyed Spring article, which is also about Bright Â Spring, she said
One of the pictures that I have of Bright spring in my mind is of a landscape with frost and the first yellow and purple spring flowers peeping through the snow, the sound of water running under the clear ice, the crisp clear wind, the feeling that it may all freeze over again, but also the knowing that eventually it will be spring. Life will prevail.
She is in fine tune with her colours because she is on the cool side of her Season, so it’s apt that her inner landscape be cooler. Most interesting that the picture she resonates with coincides exactly with her position among the Seasons.You can follow a link to her very beautiful face in the comment mentioned above. Perhaps, her colour story looks like this.
This person sparkles. They have wit, conversation, joy, and humour. Winter gives them formality, organization, and some seriousness with the darkness in their appearance, but it’s not heavy-handed. Spring’s sunshine relaxes them, still with enough cool to give them quickness of movement.
Playful, cold, and clean, it’s all fun and games but there are many reasons for not wanting to get in this water. Winter=risk.Â A Winter element brings an edge, something that isn’t too comfortable. Winter will never make everything too easy for anybody. Like neon, we brace for this colour. In the beginning, you need to roll the dice and have a little faith that you look years younger. Don’t look at the drapes, look at the face when you’re choosing a Season.
These persons look more delicate than they are, like the finest icicles and waterfalls. This is not daintiness, frills, or fragility. Rather, think of the morning after a freezing rainstorm. The branches are coated with a thin layer of ice, looking like frozen feathers. The world looks more tough than soft, but we feel no threat. The sun is getting warmer, we can hear the music of melting ice, and we know the tough part is temporary, almost pretend. In scenery that seems so tight and yet is so easy to snap lies a contradiction that feels excitable and exciting, almost high-strung, to know everything could change in an instant with the right touch.
Light bounces everywhere. We know the thaw is imminent. Just a little more sun, a little more time, already we anticipate the gladness of Winter’s passage, and might even miss its majestic and solitary beauty just a little. While still quiet and cold, the colour information tells you this isn’t November.
This is a charming and very social person. Spring’s easy smile greets you, more friendly than you really expected. Spring’s love of dialogue appears, less reserved and more joking than you really expected. You’re carried along by an optimistic and open personality, but one who never fully lets themselves go. Winter still has a hand on the wheel and decorum will matter. It crosses your mind to wonder why this dark landscape is so sunny. How can it feel so right to have the sun out at night?
Since who we are not is 90% of the inventory of any store, 97% in Bright Spring’s case, let’s get a sense of what that looks like: earthy, heathery, dusty, misty, hazy, dilute, creamy, undefined, slouchy, rough, rugged, chunky, cozy, faded, subdued, faint.
The person is: spirited, vivacious, happy, charming. They’re the can of ice cold 7Up. Bright-eyed, bushy-tailed, ready for action, curious, and interested in everything. The body carriage is upright and perky, movements are quick and snappy, and none of this goes with the adjectives in the preceding paragraph.
What would it feel like to be standing by those crocuses above or in the jungle at sunrise with your eyes closed? The air is clean and brisk. It’s soft and sharp at once. You smell wet ground and new life. You’d prefer to keep one eye open, having no sense of being snug or sheltered, but it’s still ok. You’re pretty sure nothing’s coming to get you. Birth always brings so much hope and promise that this feels more like a party. Life is so vital right now that it feels a bit unsteady. When you open your eyes, you expect that it will look different than moments ago. How might you do that with apparel?
BrightÂ Spring is :
- funny, quirky, unique, unexpected, bold, bright, artistic, varied >> Â a deep and pure blue-purple shirt with silver writing, whirls, or sparks.
- unconventional >> if you do floral, make the flowers blue or green or extreme purple and turquoise (black flowers are a harder take on life, leave them to Winter). If you do tweed, make it pink (tweed being Autumn’s texture, but everyone needs warm clothes; think of a one-of-a-kind Chanel suit).
- the problem with plaid is the same as with paisley, it is widely recognized as a workday fabric. It says practical (Autumn), not playful (Spring). The prominent squares say functional (A), not fun (S). Flannel is another less-than-perfect fit. By its texture, it dulls colour and says “grounded” >> Bright Spring might feel useful, sensible, and pragmatic, but others see decorative to ornamental. Crystal is not down-to-earth. The Zen moment is when everything you add to you keeps your compass pointing the same way. Compliments become holistic, about the whole you, because no element sticks out, pointing away from your True North. Pick shiny over muffled in fabric.
- Winter looks right when they’re overdressed for the occasion compared to everyone else. BSp carries some of that, though they wear informality better >> high end workout clothes are great. Jeans are often (not always) too rough. This person shines. They’d look good in a dress made of tin foil. It’s light, delicate, shiny, and hard till you touch it. Softening effects, like scalloped edges, are less good. Youthful looks work on Bright Spring with care, keeping enough formality to balance the Winter that looks bigger than it is. Polka dots to satisfy Winter’s classic style could be great in a formal and still symmetric design, or it becomes too young.
- Spring is young >> modern textile is better. It takes up more dye, not dulling fabric. The same colour is more muted in wool than Lululemmon knit.
- I want to direct you to a comment AC added, dated Sept 11, is this woman getting a handle on her colouring, I ask you??, Â after How Winters Intensify Eye Colour. She has realized that her colouring is assembled like a triadic colour scheme, meaning 3 colours equidistant on the colour wheel. Of course it is, the brilliant woman!Â Triadic colour schemes are brilliant on Springs. Anything based on a triangle is, but take care. Bright Spring isn’t that zingy. That scheme is very invigorating at any darkness level. This natural colouring is more settled. Use the 3 colours but keep one element smaller in proportion.
-Â The palette shines light outward, while Winter palettes always absorb more than they reflect. As light gets hotter and we approach True Spring, the sun will heat up even more. Below, you see Bright Winter on the left, Bright Spring on the right.
- anything too crayon/child’s drawing/cheery/playful is the extreme to avoid. Winter is very grownup, formal, majestic, regal, like kings and queens >> find the balance that still says elegance and excellent taste. You can wear a lot of colour well, but use those grays, small areas of B&W, and some darker colours that feel more serious.
- colours that are too soft, too pastel, too grayed – from a distance, those elements would all flow together, which is Summer’s watercolour look. Bright Â Spring’s facial features are very distinct from one another. Outfits look better when they are too, with adjustments for your own personal appearance >>bold elements and intense colour are better. Following The Brown-Eyed Spring article linked above, there is some great discussion for those interested in the use contrast, with links to Imogen Lamport’s excellent explanations (If you don’t know her blog, you should. I find her better than anyone at explaining fashion concepts and their practical, real world, real body, real budget application). I’m sorry, I’m not very helpful, my brain locks up, but grateful that Fil, Imogen, and others can help.
- most of you easily have the darkness to wear black. When it’s solid, it looks too heavy and dark >> when it’s lightened up, it looks more delicate and crystalline, and if ever a word described you, that would be it. This Pointelle Cashmere Cardigan is great.Â Every Spring should take advantage of transparency, in clothes, makeup, jewelry, hair laminates, wherever. Wear a bright shell underneath, not black or white or neutral, all of which are too serious and not invigorating enough. As much as crystalline is real and right on you, the other big word for me is glaze. So thin it could crack, transparent sugar.
BrightÂ Spring’s Makeup
Winter’s red influence is far-reaching. Logic might tell you that this person will wear their warmer bright melon well in blush and lipstick because the Spring element is dominant in their colouring. To my eye, the pinks look better. They can be warmer and cooler but they feel more right than orange variations.
Every Season has their extremes, True Spring’s tambourine jingling hippie, Soft Autumn’s Earth Mother, Bright Spring’s harlequin, bells on the hat and all. The makeup takes some courage here, at least the lip colour. Start with sheer since transparency works. Hair can be very dark but the skin usually is light and bright and needs that in makeup. Lauder is one of my favorites for clear colour in lip products. Wild Rose, Lush Rose, Rich and Rosy, gloss in Fresh Berry and Wild Coral.
Mixing MAC Dollymix and Fleur Power is good. Shiseido RD 401 is a nice blush. Smashbox Radiance is too.
Eyeshadow is harder than anything to find, especially if you prefer matte textures or have mature skin and wear them better. Nothing here you’d call brown. The greys in the beads in the choker and in the diamond shaped earrings below are examples of good colours. The colour is mostly grey and neither earthy (which is usually an orange grey or brown, like a saddle, or a green grey or brown, like army), nor Winter’s hard, dark, cold knife grey.
Examples? Help me out here if you know of any. Become the artist and mix your pigments. Use Clarins Vanilla Beige or MAC Chamomile under the brow, and then again to lighten and yellow MAC Print a little, turn it into that cleanest yellowed taupe. MAC Mystery was suggested, a really good clean brown. Make your life easy, and mine so I don’t have to scour the makeup counters in search of something hard to find on a good day, and buy Mediatrix, Conversationalist, and Upbeat from eleablake. I’d have to buy Daisies and Diamonds too, to make colours I already own right and to bring out the yellow in these eyes. (and check out Dishy blush while you’re there).
Bright Spring Accessories
Do not have a brown or black purse. Connected to a person so sparkly, it looks like luggage. Ditto the generic brown or black shoe, suitcases on feet. Black is fine if it’s not chunky and usual.
Choose patent leather over suede.
Wear fun and colourful exercise type shoes (and clothes).
Wear coloured coats and shoes, ballet flats in fun patterns, sparkly accents, gold or silver threads woven into scarves.
One part of shopping is crazyeasy for Brights : jewelry. Wear lots of it. It looks good. You sparkle and so does it. Not matched? No problem. From Harry Winston to costume jewelry. Fancy, cheap, pretty, silly, all fine if it reminds you of the thinnest layer of crackling glass.
Look for delicate, not heavy and complicated, not 10 interwoven strands of pearls and chains. I looked for purity of colour, for colour a person would notice within 2 seconds of shaking your hand, for movement, jingle, like bells on a velvet rope, like crystals suspended in mid-air. When I think of Winter, I keep coming back to dry. Spring, I get sugary, so I looked for a little sweetness in the frost.
I like hearts. Above, they’re little twinkles. Bright Winter is big glitter, harder words for a colder Season. This is frost, not ice. Swarovski is all you really need.
Learning and becoming your Season is like hearing a language you grew up with. I had a Russian grandmother. Understood it fine till I was 10 and we moved from Montreal. Now, I get the odd word, but there’s still roots in that soil. At first, it will feel very foreign, very “I have no idea what this colour language is saying to me.” Look inward for truth and you’d admit it plucked a string. Something felt a ping. From there, you keep moving towards it. Because you already are it, you’ll move fast. You’ll find a place waiting for you that will enfold you, while another person would always stay the square peg. You can choose to stand still, but life is much more fun if you keep moving towards the heat.