Growing Into Bright Winter

December 6, 2013 by  

Still happening. Bright Winters are walking in the door with so much to teach us.

 

Photo: Krappweis

Photo: Krappweis

Too light for Bright Winter? too warm? too soft? Why isn’t it shocking?  I like it. The pigments are clean. It doesn’t feel like a Light. The shocking part is only one interpretation. There are a million others.

 

Q: If I’m a Bright Winter, why does half the makeup look terrible on me?

Short A: That’s typical of all 8 Neutral Seasons. Nothing different going on.

Long A: Being a Neutral Season, meaning a blend of a warm and cool parent colour groups in your natural colouring, means that your palette contains warm and cool versions in most every colour family. That in turn is because that’s how the colours in your body are set up.

In a Neutral Season person, the native colours might be very fussy about lightness or darkness, or softness or clearness. The skin says, “You mess with one of those, I’m going to mess with you. ” On the warm to cool issue, the colours say, “A little warmer or cooler, no problem. I’m fine with as long as you don’t drive all over the road. A little right or left of center isn’t a problem. I have a different center line I have to stick to for you to be awesomely beautiful and defined in your clothing, hair, and makeup. A touch warmer or cooler? Fine. Do what you gotta do.”

That’s most people. Nothing is true in everybody. Some Neutral Seasons are as fussy about heat as a True Season is, or almost. Especially Bright Winter because the skin is Spring-delicate but the colour intensity is Winter-big. Touchy combination. The magnitude of Winter’s scale (when it cools, it cools fast and hard; when it darkens, you notice), plus the complexity and high responsiveness of this colouring, and the tolerances are more Yes or No – not unlike everything else Winter.

In clothing, I have never seen the Neutral Season woman who can’t wear her warm and cool colours very well, some more rigorously than others, of course, as we talked about in the previous article, Bright Winter Q and A. We all begin in our 12 Tone or Season palette and adapt it to our particular contrast level, body shape, age, taste, and so on.

That’s clothing we’re talking about. Neutral Seasons look boring if they stick to one edge of their palette, be it warm or cool, regardless of how close to their warm or cool neighbour their colouring sits in the 12 Season cycle. They are far more exciting and interesting if they dress all over their palette.

Cosmetics are different. It’s the rare Neutral Season woman who wears her warm and cool colours equally well in makeup. Most of us have a particular heat level within our palette that seems to work best. It’s less tightly defined with clothes. It is more tightly defined with colours we paint right on our face. The heat level for cosmetics isn’t always related to where our colouring is positioned in our Season or Tone, warmer or cooler, probably because cosmetics mix with skin pigments and are influenced by other aspects of skin chemistry. A bright Dark Winter could wear the same lipstick as a dark Bright Winter. Bite Quince is a great example.

Some Neutral Season colouring is unusual in its high sensitivy to heat level in clothing. Really, in any Season, the average appearances and rules about appearances don’t exist in the real world, certainly not among the Brights. There will always be those in any colouring than sit at the extremes of any parameter. Some Bright Winters tolerate dark colours well, but white not so well, where a little too cool is a lot too ghostly.

Is an analyst going to have 5 white drapes? No, of course not. Especially not white. It’s the hardest analysis colour to make decisions from and the most difficult colour to assign to only one Season’s drape set. How extreme can you make white to have it represent only 1 Season as Test Drapes must do? If the Test Drape white is not your perfect white, your analyst tells you what needs adjusting based on your analysis process, and you go to the store and find THAT white.

Makeup texture is crucially important in the Brights, again because of the big scale and volatile settings in all 3 colour dimensions. On all colouring whose appearance is young and angelic, sheer may be better than matte. On a more dramatic presence, an opaque texture is necessary to support a face that expresses power in the more traditional sense, to balance more imposing eyeliner and blush that in turn balance the architecture of the face.

Lips should balance eyes and hair for the whole head to look balanced. If hair colour or textures are strong and striking, as opposed to clear and gossamer, matte lips can make more sense, though it’s still brightness that really matters. On a strong, mature face with Winter level features – significant hair, arresting eyes, and notable clothing – an invisible mouth too close to skin colour, is, well, it’s old. This kind of face wears matte just fine and is too busy to reapply gloss every half hour.

Photo: lemunade

Photo: lemunade

Bright Winter? Clean pigment, not too warm, small yellow accents, ends very near black, red-toned gray in background (but not blue or mauve grays like pigeon or raincloud). That’s a stunning outfit. Only a Bright Winter could wear that pink in eyeshadow, blush, and gloss – but not every Bright Winter.

 

Q: In the last article about Bright Winter Q and A, do you think some people are in between Light Summer and Bright Winter in their Season position? Do they look pretty good in both palettes in clothing?

Short A: No. I think nobody is located between True Seasons. True Seasons don’t overlap. Colouring can be located between Neutral Seasons. Bright Winter and Light Summer share some colour properties but their clouds don’t overlap in colour space. Some great analysts might see this otherwise though. Don’t get locked down by my bossy delivery. That’s just how I talk.

Can they share clothes? Depends. Age, taste, safety, degree of fussiness about being perfect. Also how colour perceptive the audience will be.

Long A: Christie Brinkley could be between Reese and Julianna. No real reason for me pointing that out, just a similar kind of colouring and face. She might be neither Light Summer nor Bright Winter. Probably isn’t, in fact.

I said before that Winter is an extension of Summer. You know by now that I say things too broadly just to unstick something in your head that shouldn’t be there. For instance, when I said, “Any Season can have Any hair and eye colour.” It’s mostly true. You can have blue, green, or brown eyes in any Seasons. Now, it won’t be the same blue, green, or brown, but we can’t get into the details until the wrong generalization is out of your head space.

So Winter is more Summer in some ways. OTOH, Autumn and Spring are seriously different. Therefore they belong opposite a circle from each other, with Winter and Summer also opposite. Then the Neutrals can assume their correct positions, or oppositions. Then the heat levels can assume their correct positions, or oppositions.

There are colour analysis systems that go around a clock in the Spring, Winter, Summer, Autumn order. I don’t understand that. For me, I can make more sense of Spring, Summer, Autumn, Winter. That makes the neighbours and the opposites more logical in my head. While I respect the work and vision of everyone in our industry because every one has added to our knowledge, placing warm next to warm is in contradiction with the physics of illumination. Warm and cool don’t move into each other, they move away from each other, I believe.

But there is NO Winter person who drapes equally in Summer colour, IMO. You’re one OR the other. When I say Winter is more Summer, I have no smudged line in my head. You’re still on one side or the other side.

To me, there is never a real life person who can’t be put solidly in one. Some great analysts disagree. If I’m the analyst today, a person is either Winter or Summer. There’s no blend. My students don’t leave here without proving this to themselves.

In a TEST situation, you’re either or.

However.

My more specific point was that they can use Light Summer to grow into Bright Winter. In the store, you can wear Light Summer if Bright Winter is too much, and still look a million % better than all the other choices you could have made that day. In the totality of a Light Summer outfit, a Bright Winter item could be the only thing people see under PCA lights. Or vice versa. IRL is different. Our eyes adjust and adapt and compensate all the time.

Photo: Cherokee14

Photo: Cherokee14

Coming around to bright colour? Great. Keep a delicate feeling about it. Keep your lights close to white if you’re Winter. Could the flower be Bright Spring? Maybe, hard to tell from photos. If there’s real red, it’s feels closer to Winter. Shocking? Maybe in a cement room.

 

Q: I wore a perfect Bright Winter lip colour, not too warm or cool. It swatches just right. I took good pictures. All my friends said it was wrong for me. Now you tell me I’m a Bright Winter. How can I wear lipstick that everyone thinks is off?

Short A: They were too absolute, and about a different issue.

Long A: First, if the friends are online and have not been in a room with you, they don’t know because they can’t know. Ever met anyone who was exactly what you expected online? Ever seen a cosmetic that was?

Second, what do you look like? Young woman, young features, and opaque looks like Mom’s makeup. Often much of the palette of colours, in clothing too, is too powerful for young men and women to pull off. It will happen in time. The adult will surface. Eventually, the face will shift from Spring sweet to Winter regal, even though you’re still Bright Winter at 17.

It makes sense to give a hard face a hard lipstick. Give a soft or young face SHEER lipstick, NOT SOFT. Don’t reduce saturation or you’ll move the colour to someone else’s makeup bag. Reduce opacity. Two completely different concepts.

The friends knew they crashed but couldn’t tell into what. The issue was opaqueness, which does look like Mom’s Makeup. The viewer sees that and thinks, “Whoa. Back up. I have no idea where this gun will fire. I’m not getting close and not showing much of myself.” The friends felt that and said, “Can’t be your Season if the lipstick test fails.”

They were just wrong about what’s wrong. The GummiBear version of the exact same colour could be superb. High pigment density in a transparent application is how Bright makeup looks right. Makeup makes sense and belongs on a face when it reflects light in the same way that the skin reflects light (see Best Skin Finish articles, Winter, Summer, Spring, Autumn.)

Opacity and transparency are not ways of measuring colour but they most assuredly influence how we see and feel about it. Would you put house paint on a doll’s lips? Same colour in jellybean, does it feel better? On a Bright, too sheer is ChapStick. There has to be pigment density + pigment purity + transparency of application.

We can’t look at a photo and adjust one parameter of those three and know what it would do to the face, just as we can’t look at two colours of different colour dimension, say saturation, and guess the lighter and darker. Our eyes get mixed up when one thing changes, about the other things. It guesses wrong. Which is why a correct PCA has to find a way to tease the 3 colour dimensions apart and evaluate each one separately. That means exact drape colours and a logic process that sails around these storms, not into them.

Sheer also allows more movement on the warm-cool axis. Sheer makeup is good on anyone making adjustments because our own pigmentation shows through and brings it nearer to us. It’s instant, built-in, foolproof cosmetic colour customization.

There is always part of what looks right to people that’s just taste, same as any art form. And memory, intuition, emotion, and subconscious. We have little control over any of it but they influence our decision-making. Analysts fight their personal feelings about colours all the time to keep it purely objective, part of why a PCA system that measures something is so essential.

 

Photo: De_Lima

Photo: De_Lima

A nice picture to break up all the print. Ridiculous how much I can talk. Also lots of Bright  Winter going on. Clarity, smoothness, high reflectivity, transparency, and some nice neutral colours for pants and a coat in the background.

 

Q: If I’m a Bright Winter, why do I look like a child when I wear the clothes? The colours shouldn’t wear me, should they?

Short A: You’ll grow into them and get used to them. It’s normal.

Long A: A young Bright Winter might feel the colours wear him until he’s 30, especially if he’s blonde and blue-eyed. If the family and friends have only seen the sunny rascal face, and that’s how he’s always been treated, and therefore how he sees himself when he looks in the mirror, how can anyone know that the power face is already the bigger part of him, and will get bigger with adulthood? When everyone has seen him as Dennis The Menace, how fast can the room adjust when Beckham on the GQ Cover stands up? Everyone has some catching up to do when Dennis walked in and Chris Pine will be leaving (hey, Pine looks like Hough, Witherspoon, and Brinkley too. Like they could be a family.)

How would you feel if she were your sister and your consciousness of her goes from this to this (scroll down to Out of the Desert), in an afternoon? (these are not necessarily Bright Winter; get the feeling and the lines, not the colours)

When those who always saw Lollipop Bouquet had to adjust to Candy Cane?

 

BrightWinter 1b

 

And what if Candy Cane suddenly became Grecian vase? Winter is a grown-up. Never underestimate the power, maturity, and seriousness inside even the youngest Winter. Many Winters seem floaty in various ways. Don’t be fooled. They’re not.

 

Bright Winter 2

My eyes saw the person and, because the skin is quiet and the face is united, bounced immediately to the eyes. And couldn’t move away from the eyes without conscious effort. Perfect. The lips balance the hair and eyes so the whole head looks balanced.  Barbie or bubblegum would  not be better. I can’t even talk about rust. The face would not come across as it does with less lip. The image would be compromised compared to this one. The same could be said of more lip, especially in the angelic quality of the face. Burgundy would not be better, even her own sugarplum could be a lot. For now. If you’re not wondering what the lip colour in the photo is, you and I have a whole different opinion of beauty. And that’s perfectly OK and normal, probably everyone has different opinions about beauty. It’s YSL Glossy Stain #13.

 

More importantly, until you’re seen in real life in your true and native colours, nobody really knows what you look like.

Lines won’t assume their correct shape till we see them in their real colour and texture. We don’t know the true shape of a line till we see it in its true and real colour. Carol Tuttle of DYT really saw texture differences well, and closed the circle nicely by describing them and then applying them in apparel.

Under the PCA lights in a gray working environment, we cancel all the surrounding world’s noise, and there’s a lot of it. Then we find the right colours and textures. On every face, with every drape change, we answer questions about:

  1. colours
  2. lines
  3. textures

 

ONLY THEN do we look at the face and say, “So now. What shape is THAT?”

This is part of how body line assessments get confused. If we see a jaw or nose or facial line that’s fuzzy or distorted by incorrect colour, it makes it harder to find the Kibbe or Type or whatever archetype system we ascribe to. Especially in photos where nobody has spent any time with the real you, and where our eyes must make assumptions.

This is why correct colour analysis takes priority in choosing apparel. First, you know your colours for sure, then figure out your lines, and then your own unique expression.

L. is a recent student whose background is in science. Her work demands that she peel thinking patterns and decision-making processes back to the bone. Of the rigor of the PCA process, she said, and I paraphrase,

What sounds good and feels good might be right but it might not. We need to keep all options open and examine them. As humans, we have a vested interest in an outcome whether we admit it or not. Therefore a correct analysis of anything, colouring, a drug, a patient, requires that we solve a problem in many different ways before making a conclusion that will later support a structure. It’s a cumulative gathering and building of information to arrive at the best decision.

What’s the vested interest? Proving to ourselves that we’re right about what we thought we were right about. Ego’s favourite game.

What’s the structure that will need to be supported? You at the mall, at the makeup counter, in the hair colourist’s chair, in control of your appearance.

 

Photo: winterdove

Photo: winterdove

Just beautiful. Dark green is the neutral. Love colour as neutral on anyone with Spring. Baby peach is gorgeous on Brights. Faint heat in the center. Symmetric, repeating, balanced (Winter) and out-of-this-world.

 

To the previous article, Susan asked:

Q: Brights who ‘look’ light, bright and clear; do you mean they look so only in their colours?

A: Depends. Sometimes, wearing muted colour can dull them down substantially. What’s a Summer colour compared to a Winter one? Warmer and duller. And that’s exactly what a Summer white drape does to a Winter face, makes it yellower and fogged in, among other things.

On some Brights in muted colour, they seem to look more bright and not attached to their clothes in some way. Like the two elements are finding the place where they most differ and force it even wider.

Back to TMIT, another broad compromise to help us think about something in a new way. Dark people look good in dark colour. It’s pretty easy, even if it’s not perfect. Dark Winter can manage Dark Autumn or dark Soft and True Summer quite ok. Bright people look normal in bright colour, while the rest of us look a little absurd and taken over by our clothes.

That’s what the colours do to us.

All colour, every idea and any conflict, is a 2-way relationship. Walk around the belief and look at it from the back side. What do we do to the colour?

We could rephrase the above to say that Dark people can take a dark colour and make IT look normal and not so dark. My lipstick is very dark among the 40 choices in that brand. It doesn’t look black on me but it would on most people.

A Bright person can take a bright fabric and make it look normal, just blue, just pink, what’s the big deal? On the rest of us, it settles somewhere along the foolish-neon-toxic spectrum, and more so, the longer it sits on us.

We could say that a Bright person takes a clear colour and makes the clearness look less exaggerated. Maybe that’s the ultimate tolerance. The best belonging. “I’ll take what’s out there and extreme about you and bring it in here with me. We can bring out the best in both of us. Neither one bigger or more the way it would be on someone else. Neither of us lost or less. Instead, and only when we’re together, we are able to make each of us found and more.” Synergy. More than the sum of the parts. Synchrony between our native wavelength and that of what we add. Harmony. The magic word. The magic feeling that colour analyzed people feel and others see.

 

Many Bright Springs have requested a similar Q&A post. For me, these are not the Q that come up for that colouring. Are they for you? If yes, I’m happy to write about it. If these are not your exact concerns, what exactly do you want to know? What problem are you having? What doesn’t make sense? What are you just putting up with or having to work around all the time? Tell me the exact issue. If one person is wondering, be sure that thousands are.

 

Comments

35 Responses to “Growing Into Bright Winter”

  1. Paisley Ize on December 6th, 2013 4:41 pm

    HORY CRAP IT’S CUPCAKE!! Looking better than I’ve ever seen her! omg omg omg!

  2. Sharon Panioty on December 6th, 2013 4:45 pm

    I am finding your bright winter articles really interesting…

    I was analysed as summer when I was in my teens then again in my early twenties. A few years later I was analysed as summer but slightly differently:

    Namely that my colouring is bright deep and cool. Ever since then I have been trying to work out if I’m more winter or summer. As I have got older I have preferred brighter colours and although I think soft summer colours are lovely – they don’t look lovely on me.

    Thank you for your blog and I look forward to continuing my colour analysis journey!

  3. Renata on December 6th, 2013 4:57 pm

    As always it is so much pleasure to read your articles.
    In the last two topics you mentioned that winter is cooler than summer. Why is that? Both seasons are absolutely cool. Is that because summer colors are softened by gray, so their coolnes is not so stark for the eyes, or maybe because winter colors are “warmed” by addition of neutral grey? Would it follow that autumn colors are warmer than spring ones? Visually it seems to be the case.
    Also it was mentioned that a neutral season may be more sensitive to softness than coolness. For example, TMIT for Dark Winter is darkness. Does it mean that for some DWs the second MIT may be coolness, while for others can be softness? If this is the case it would mean that a DW woman could be closer to True Winter in terms of temperature, but closer to Dark Autumn in softness. Is it possible, or did I get it wrong?

  4. Barbara on December 6th, 2013 5:38 pm

    The pictures say it all. She looks delicate and strong as a piece of porcelain and incredibly gorgeous with her dark eyes, pale skin, soft but striking features and that sheer lip colour.

  5. Ally on December 6th, 2013 7:36 pm

    GummiBear. Teehee. You know what’s GummiBear? The Revlon lip butters. Candy Apple and Raspberry Pie are the ones I’ve liked for BW, a fuchsia and a corally red, and they are a great way to do clear color and plenty of pigment without opacity.

    Also, woohoo, now I know (approximately) what you mean when you say peach! I think of a much warmer color, much more like apricot than pink, so I’ve been confused when I read about peach for BW, and my TCA fan doesn’t have a color like that. Yeah, I would wear that flower all day, slightly warmed fresh pink.

  6. Denise on December 6th, 2013 10:18 pm

    Great, fun article to read. What do you think about YSL glossy stain #13 for a dark winter who is on the bright side? Or is there a similar color that’s better for dark winter? What about Clinique raspberry rush for a brighter dark winter? Thanks!

  7. Julia on December 7th, 2013 2:10 am

    The effects white has on BW skin astonish me most. I am very pale with a strange dark honeyish hair color and grey eyes. I never thought I could wear pure white before I was analyzed a BW. It turns out that every white with too much yellow literally turns me yellow, the effect is so strong it smashes into your face. Blue white turns me blue. But the right kind of white, a pure white, makes me look like I have a slight tan and have just come back from a holiday in Southern France. Mindblowing.

  8. Susan on December 7th, 2013 6:21 am

    So much to love here; is the flower shocking? Maybe in a cement room! Says it all.
    Sheer allowing more movement on the warm cool axis- brilliant and observable- we’ve all done it.
    I particularly like the point that a Bright will take a bright colour and make it normal- pink, so what! From that can I infer that
    a muted will make muted colours less so – less like themselves therefore? On eyes again, and each seasons greens not being equal etc; could a colour like( perceived) mustardy yellow ever be even neutral cool? Thanks for featuring and answering my question about the Cools Warms axis. It’s interesting to ponder just what the difference might turn out to mean.

  9. Susan on December 7th, 2013 6:24 am

    Please! Pix or examples of BWs who aren’t snow whites? Please!

  10. Bella on December 7th, 2013 6:57 am

    Christine , You’re GENIUS. I’d like to live in your head for about an hour. That’s all I could take of your creative thinking and points of perfection. I learn so much about all the seasons no matter what you are writing about. Thank you for never compromising. I love seeing the world through your eyes.
    How makeup reacts on different skin tones of the same season is fascinating. Stand next to someone at the cosmetic counter and try on the same lipstick. No matter what your seasons are it will look like a totally different color. Amazing to watch, It’s such a fun journey to be on. You give us perfect guideposts to lead the way.

  11. Nomi on December 7th, 2013 7:24 am

    I love your articles, but at the same time I want to cry. I guess I just don’t have a very good eye for color. I don’t understand this stuff at all. When I thought I was a Summer, I had an idea that would guide me: stick to heathery cool colors, no reds or yellows ever. Now that I’ve been judged a BW, I’m just confused. Clear? bright? neon? strong? How do you tell what’s clear and what’s intense? What do you do when the garment doesn’t match the fan exactly (most don’t), but you can’t tell why? Translating words to colors is so subjective and I’m just floundering around. I bought some stuff at a thrift store to experiment with that seemed to approximate my color fan and I can’t tell if the clothes are bad or good on me. I feel so clueless now. Maybe I should wear all black all the time.

  12. Kate on December 7th, 2013 7:58 am

    Thanks for another interesting article – really enjoying these!

    I’ve been thinking about the “brights who look light, bright and clear” thing. Just thinking out loud, I think it is interesting how “bright” can manifest itself in different ways in colouring – for instance, JH’s eyes are obviously bright and saturated in colour. As Bsp, my eyes appear very pale green grey and don’t seem to have this near neon colour quality at first glance (although they are actually very saturated with light colour). Instead, the thing that stands out is that they have a very pale, glassy quality (almost so glassy in fact as to appear colourless!) It’s like the thing that stands out is “glassy”, not “bright colour”, if that makes sense. Is it blue eyes in the brights that tend to have more of an “across the room” quality?

    There seem to be brights who can pull off a “softer” (or is it just lighter/warmer/something else?) look. To my eye, Julie Andrews is one – I really like her in warm pink, apricot blush, grey eyeliner and pearls. This is a look that appears to work much better for me as a Bsp than fuchsia lips and pewter eyeshadow.

    Interestingly, on my recent quest for makeup I tried a bright yellow and coral eyeshadow from the palette, and they just read as neutrals on me – not bright at all!

    I’d be interested to hear more about how Bsp compares to Bw. Also maybe Lsp compared to Bsp?…

    Could Jessica Stam be a bright? Saoirse Ronan Lsp/maybe Bsp?

  13. Linda on December 7th, 2013 2:20 pm

    Nomi, I feel just like you do :(

  14. Heather on December 7th, 2013 6:50 pm

    Wonderful work as always Christine. And another “shockingly beautiful” BW face indeed! Christine, it would help me enormously if you could maybe do a post one day showing different fans (BW in my case) against colours that DISharmonise in not glaringly obvious ways like a BW fan on SA fabric would. I own a really BRIGHT mid pink cardi and assumed it must be my colour because it is so bright but don’t feel my best wearing it. When I place my BW fans over it, it seems to make the colours of the fans look darker and dare I say it, a bit DULL!. I just assumed that the fan colours lose some of their oomph because they are printed on canvas in comparison to the real life fabric. However, I now think what I see is disharmony and the pink although super bright is not for me – maybe a spring?

  15. klara on December 8th, 2013 5:54 am

    Oh, what Kate said:

    “I’ve been thinking about the “brights who look light, bright and clear” thing. Just thinking out loud, I think it is interesting how “bright” can manifest itself in different ways in colouring – for instance, JH’s eyes are obviously bright and saturated in colour. As Bsp, my eyes appear very pale green grey and don’t seem to have this near neon colour quality at first glance (although they are actually very saturated with light colour). Instead, the thing that stands out is that they have a very pale, glassy quality (almost so glassy in fact as to appear colourless!) It’s like the thing that stands out is “glassy”, not “bright colour”, if that makes sense. Is it blue eyes in the brights that tend to have more of an “across the room” quality?”

    And: “I’d be interested to hear more about how Bsp compares to Bw. Also maybe Lsp compared to Bsp?…”

    I couldn’t have refrained it better myself. I think I am one of those “glassy”, cause I shine enormously and my brother once said my hands looked like they were made of plastic. But I have no idea if it really makes me bright.

    Another thing; warmth in people that doesn’t express itself typically yellow but still is warm. So many people doesn’t recognize corals, oranges, salmons and so on in a skin tones. So a post about springs that doesn’t directly show yellow but still are springs would be really nice :)

  16. monica w on December 8th, 2013 11:47 am

    Christine you are so right about finishes being as important as colors with Brights. Do you think this is where many people get confused about matching their colors? I know I did.

    As a Bright Spring, I always receive many complements when I wear my corally pink lip gloss which matches my swatch perfectly. So I bought a heathered hoodie that was the exact same color; so many people said that “the color” didn’t suit me. But it ended up being not the color but the heathered finish that didn’t work.

    For the longest time I thought I couldn’t wear the greys in my swatch book, but the actual problem is that most grey clothing is either heathered or tweedy in a way that diminishes its clarity. I can wear pure, clear warm grey, bit its hard to find.

    On the other hand, I once borrowed an ice blue patent leather jacket. I couldn’t believe the number of people who thought ice blue was “my color”, but it was the patent finish that was flattering not the actual color.

  17. Fil on December 9th, 2013 1:05 pm

    Monica, Dark Pewter and Dark Charcoal (they are not that dark) at J.Crew and Flagstone at J.Jill are excellent – solid, not heathered, not too cool. Unfortunately, neither available at present, but they always bring them back : ) Pure Collection sometimes has good solid greys.

  18. Denise on December 10th, 2013 12:42 pm

    Adding to the list of questions about bright springs. The bright spring who looks very wintery with dark hair and pale skin. What are the signs that she’s Bright Spring? Should she do anything different with colors or combinations.

  19. Christine Scaman on December 10th, 2013 12:50 pm

    Renata – about why Su is warmer than W…think about a horizontal slice in Munsell space. You get a colour wheel of certain value level, right? W colours are at the ends of the branches. Su colours are closer to the trunk, and therefore closer to the other side of the colour wheel, where the colours of opposite hue exist. A is warmer than Sp because muted colour is near the tree’s trunk, which in turn is nearer the other side of the circle. I don’t think in terms of a 2nd MIT. It varies with individual and would be too convoluted to identify accurately. But if your woman were cool enough to be near TW, she’d need more blue. More blue will darken, cool, and saturate, I believe.

    Denise – not sure about the YSL, haven’t seen it myself, only on the model. My memory of Raspberry Rush is quite clear and cool. I can imagine a DW who might wear it (she can wear some colours that move into BW), but I’d want to see it before recommending.

    Susan – depends on the mustard yellow. Dijon could get into SA or even DA depending on the specific colour. I don’t post images of humans often because most people are very private and I have no control of how the photos will get used. It’s rare that I have permission, usually with people who have or will have a public image in the field.

    Bella – Hi!! :) Nice to see you here.

    Nomi and Linda – what might help? First, can your analyst help you? I often see clients 3-12 months later just for a follow up visit, to re-answer Q, see a few more drapes again, talk about items they bought and weren’t sure about. I believe all analysts should offer this service. Most people are just like you – they need help!! It’s normal. You did well to stand up and say so. I admire that. Second, try thinking about what you’re not: dusty, heathery, thick, faded. Aim for pure colours of fresh flowers and fruits, not dried. Third, join the BW group on facebook. They’re great at helping because they’ve all been where you are. Every Season needs it ambassadors and support group, its MVPs.

    Kate – how BW, BSp, and LSp compare – yes, but how do you mean, in what aspect or context? I assume you don’t want technical information. Can you bring it into some questions? Never sure about celebs – one of the ladies may have a thought?

    jc – you probably are able to wear warmth and coolness in colours, like any Neutral Season. Most people are not warm OR cool, they’re warm AND cool.

    Heather – you’re into the realm of optical effects that are too subtle for a camera to pick up and a monitor to show. It’s pretty easy to see in person, as you’ve found. Most people’s colour vision learns this quickly and well. Why would BW dull on that sweater? I can only imagine that either the sweater is BSp or it’s saturated past what humans are.

    Klara – not all blue-eyed Brights have that so-called piercing quality, certainly not in normal room lighting. With the full spec lights shining right at them and a few comparison sets of eyes around, you would likely catch it, but in the regular world, they can look like L Su until you REALLY look. About a Sp article, if you can phrase specific Q, I’ll gladly A them. About Sp not looking yellow but still being Sp…hard to show or talk about. To me, they do look yellow, at least a bit.

    Monica – I can imagine where many problems might arise but I doubt that given shiny fabric, folks would begin making more correct assumptions. Usually on testing drapes, shine seems to distract the client.

  20. Kate on December 10th, 2013 4:46 pm

    Thanks Christine… In terms of lsp and bsp – obviously they share the same parent season, but I wondered how summer/ winter manifest their influence on the palettes and on the people? How does winter’s presence come across in bsp people? I heard the palettes are similar – do you see lsp as a lighter version of bright at all? Could they theoretically borrow any colours (even though this isn’t the best option)? Some of the warm pinks/apricots look similar – how do I know if I’m looking at lsp or bsp when choosing these colours? What do light spring colours look like on bsp? Just thinking out loud…

    I found your “true spring blue” article extremely helpful, as well as the visuals in “extremes of bright winter”. Some similar visuals for bsp might be really useful, or maybe a “bsp looking normal” outfit, like the one you did for bw?…

    If I find an item that is very saturated and in the medium value range, which seasons could be likely contenders? I keep getting stuck with colours like hot pink – thinking they look good due to being bright, but on closer inspection often too cool on me and don’t harmonise with the fan…

  21. Susan on December 11th, 2013 2:10 am

    Wow when you answer you really answer Christine! That tree trunk image is brilliant in explaining the ‘warmth’ of S vs W. Creates a whole new diagram for me to play with – Yay! (Lerv diagrams)

  22. Christine Scaman on December 11th, 2013 5:56 am

    Got it. Thanks.

  23. Susan on December 11th, 2013 8:02 am

    So- the diagram so far; on a ‘flat’ circle, 12 trees, branches to the perimeter, roots to centre or hub of the wheel, right? Just look at two- W and S (that’s as far as I’ve got) S is the light part of the year , W the dark so it makes sense if DW is on the branch tips and LS also . Then working our way in, TS ,TW. So at the centre hub we’d have SS (muted, right?) giving way across to BW across the central divide. Both heated cools, one light one dark. It actually follows the seasonal progression too . I do hope this is right because it goes a long way towards explaining my and others’ odd dilemna between BW and SS – almost natural extensions , not across the wheel, but through the centre. They can remain discrete and never have to touch . It just means deciding in my case whether I’m one or tother! It helps with the strange conviction that I need CLEAR versions of SS or SOFTened BW. Might be right up against the hub one way or another. Wonder what will happen with the Warm axis. Of course it’s a whole nother wheel from the 12 along the rim progression – but my geometry deserts me here!

  24. Susan on December 11th, 2013 8:12 am

    Sorry- should have said TWO trees. Not 12 for this purpose- the 12 still appear, just not around the wheel. (like you care lol!)

  25. Susan on December 11th, 2013 10:05 am

    Actually, 4 trees, the 4 generic seasons. Around the edge- BW, BS? LS DA- keeping the muteds further into the hub as you said. The question is whether BS or LS is on the edge following BW- it affects which Sp meets SA there. It could be the same as the cools, bright meeting soft (I think so actually) but it could equally be LS meeting SA – they do get confused I believe. But I think it is more interesting the other way, and more ‘different’ and discrete as seasons. Not sure you’d agree since your eye is calibrated better to distinguish than the rest of us. Anyway, that’s it- rambling done!

  26. Corinne on December 12th, 2013 7:22 am

    Wasn’t that model analyzed as a LSp by a different Sci/ART analyst who you advertise on your site? I know so many people now who have been incorrectly analyzed by that person and yet no one really seems to speak out or complain. It’s like, ‘oh, mistakes happen’ ‘difference of opinion’. It seems to be happening with too much frequency though. Maybe you shouldn’t be recommending people you haven’t trained.

  27. Susan on December 12th, 2013 10:45 am

    Corinne, this is my very humble opinion, jumping in before Christine . I think perhaps and only perhaps, we change – if not season always, certainly sometimes especially when so young. Added to this we on some level, maybe not scientific but not all of us totally believe in science! – we choose our season. This is why I think it isn’t written in stone, even for the analyst. The analyst could be there to guide and help US through these choices, driven by our psychological connection to our biology. This won’t of course resonate with all analysts, and there must still be a striving to perfecting technique. But I think the analyst is a therapist and guide. Look at Renata’s blog- she pulled off just about every season with artistic brilliance- before figuring her most comfortable ‘home’ .

  28. Christine Scaman on December 12th, 2013 5:54 pm

    Susan – I think I can picture what you’re describing, though I must admit that I’m not certain. Sounds like you’re picturing the clouds of colour that the palettes are taken from. What I did follow, and thought you said brilliantly, was your response to to Corinne’s comment. Thank you.

    The question of “What’s right?” and “Who’s right?” remains to be answered, I guess. I’ve made some departures from Kathryn’s teachings just to get the system to make sense to me. Perhaps others, who were trained by her and follow her methods more closely, are ‘more right’. Perhaps when I say the Season I see and the client is very unhappy, when she would have been delighted with the neighbour Season, that’s not right. Whichever opinion one takes, this remains a teaching site, a place where we are all free to be wrong and right, to share and grow safely. My students, and I hope, my clients, understand that different results have enormous value. The woman who has tried one or two Seasons has a far deeper understanding of each because she knows what the analyst saw the last time, and can build on that foundation with even more meaning and depth. Most of my draping models ask to return just to see the process again. They learn each time. And I can say with complete honesty that the first words these women speak is of friendship and admiration for the previous analyst, whoever they were. All the time, I am told before I begin, “I just want to say, I love -, I thought she was awesome.” That’s when I relax and know this client/student and I will be friends, because we both want to build upwards. Although it’s exhausting at times, I try to be 100% growth-oriented all the time.

  29. Susan on December 13th, 2013 1:19 am

    Clouds of colour I like- is it a Christineism? I know Munsell or maybe his followers decided colour couldn’t be forced into geometry- just like me to carry on trying! SS and BW are opposites on the wheel; pull them into a sphere like an old fashioned butterdish lid. They meet, and become neighbours , still on the perimeter. And each has its previous natural neighbour on either side. Perhaps this ‘sphere’ is your ‘cloud’. I think the blurring- clouding between student\client is great and in fact is more of a true scientific position if you think about it. Good science trumps bad science.

  30. Introducing Colour Analyst Rachel Nachmias : 12 Blueprints on January 29th, 2014 2:36 pm

    […] have met Rachel before in the article Growing Into Bright Winter. It is my honour to formally introduce her and her business to you today. You can find information […]

  31. Kelly on March 1st, 2014 8:09 am

    Hello,

    I have a question ^^ Which kind of sunglasses would you recommend for a bright winter person ? Which color does suit us ? I like the black ones but maybe it is too dark for our coloring ?

    Thank you !

  32. Kelly on March 1st, 2014 12:15 pm

    Sorry, I have few more questions. (Sorry in advance for my bad english)

    1) As a bright winter, it’s sometimes hard for me to dress in winter. In fact, when I wear a bright top, I don’t know which color i should choose for the bottom. So I always wear a navy jean, or a black one, with black shoes, but I thing the overall effect with the black slim and the black boots is not working for me. It’s too heavy with the boots. Moreover, I just have black coats for the moment so when I’m outside my look is completely dark :(.

    2) During the other seasons, which color of shoes can I wear (except black)? Because I’m “petite” so maybe wearing bright shoes will put the attention on my feet…

    3) I often read that bright winter persons have some warmth in their coloring, which means a look that is totally cool won’t work. Then, how do you add some warmth to a look with a blue dress for example ? Because it’s like gold accessories are not working with this color !

    I would love if you could give me some advices about how to match the different pieces for a bright winter look!

    Hope you will have the time to read all my questions. :) Thank you soooo much in advance !

  33. Christine Scaman on March 10th, 2014 6:11 am

    Like everything else about Season, decisions are adapted to each person, particularly in a colouring like this that has no stereotype and is hard to generalize about. Black can work for those who have black quite obviously in the appearance, say Asian people or a man with very ink-dark hair or a Snow White appearing woman, though I would still choose shiny over matte. If the colouring is lighter or warmer side, I might prefer silver or a colour from the swatch book. Sunglasses are an item that we expect to have darkness, often in excess of the natural colouring, and in that item, it makes sense. We can adapt the darkness of the face in the interest of functionality.

  34. Christine Scaman on March 10th, 2014 6:14 am

    Kelly, the overall darkness effect is about medium. So if a top is dark, you can wear a stone or light gray pant. Black shoes and belts are fine, but shiny or with a shiny element like a buckle. If the top is bright coloured, a dark bottom is fine. In large items, choose a dark colour (navy, green, turquoise) over a dark neutral (black or gray). Winter white makes a great coat on this person. You can inject warmth with earrings (purple stone), lipstick (coral and strawberry), pale gold jewelry, an accent (lapel pin or stone in an earring). Think in terms of the total additive effect.

  35. Ally on March 14th, 2014 7:30 pm

    I think I hear a misunderstanding about warm vs. cool, here; a BW can wear her cobalt, fuchsia and black together and be stunning, though all three colors are on the cooler end of the palette (as opposed to turquoise, coral and espresso), because her cobalt is warmer than TW’s, her fuchsia has a little yellow in comparison to a purely cool color. It would probably be more interesting with some of the warmer colors, and there are individual BWs who do better with more warmth, but you can’t combine the palette colors and get something too cool for the average person of that palette. That’s the cool part about the palette, everything goes together, infinite combinations :) Beyond that, you figure out and fine tune your personal tolerances and preferences as you live with your palette.

Feel free to leave a comment...
and oh, if you want a pic to show with your comment, go get a gravatar!