I’ve written about “How To Match Foundation” before, here.
I watched this video and and thought about how it might apply to PCA.
By far, this is the best foundation matching video I have seen. From a colour analyst’s perspective, I agree with so much of what Lisa says.
1. The skin on your entire body is united. Your genetics did not put a different melanin, carotene, or hemoglobin in your hands than your back. The overtones in the face or hands or feet may be different from the rest of the body, but the undertone will not be.
2. The skin contains many colors, reds, greens, blues, and yellows.
3. I fully agree with the importance of self-knowledge, but some types of self-knowledge are nearly impossible to access on your own. You can’t know your red blood cell level without measuring it. You can’t know which foundation matches your skin best without measuring it, meaning comparing several different shades together at the same time. Comparison is a form of measurement that delivers greater than and less than data.
As Lisa says, the apparent skin colour is different for different parts of the face and body. And yet, all of our skin is united in its undertone. Terry wrote about this recently in her article, “What Is Under My Overtone?”
You can’t know your undertone without measuring it. These things are part of our internal biology, extremely difficult to evaluate simply by external observation because they don’t sit on the surface.
Many women have concerns about facial skin texture, areas of uneven pigmentation, rosacea, suntans, and so on. They have asked whether any of these compromise the result of the colour analysis, or if we should be working from neck or chest skin that is more even. The answer is no if the analysis process is analyzing to your undertone, not your overtone.
Warning: BIG digression coming up. It fits into todays’ context and many others.
Defining Your PCA Service
In the last article, some folks heard arrogance from me at the idea that what we think we see is not real.
There is no judgment here. I am not pointing out wrong or right. I truly apologize if it sounded that way. If you spoke to me, you’d know that I’m not 100% sure that my way is right. I’m always pulling back from that line because I have unanswered questions about PCA myself, Sci\ART system included. In life, there is no 100% wrong or 100% right. There is only lifelong growth. If you’re waiting for 100% locked down forever, you’ll wait a long time.
I do not want anyone to be uncomfortable. All I want is for your clients to be happy with you and my clients to be happy with me. The present situation, full of doubt and misunderstanding, is not good for any of us. Wouldn’t our industry be healthier if clients knew what they were getting and could just enjoy the results? The present situation is keeping us all stuck in the 80s. Feelings are being hurt and business is not progressing. Someone is going to have get brave and talk openly and fairly. If we, analysts and clients both, don’t put our hands out to steady the wheel, all we’ll ever be is skidding around on black ice.
Every industry exists to serve the public. People have a desire, a need, and a right to know what they’re buying. You don’t have to agree with how I do an analysis. The point is not to get the public quizzing analysts and making everyone bananas including themselves. The point is to have everyone define how they do things and why. The public can then make an informed choice. The analyst gets the right clients for what they offer. Expectations are satisfied or exceeded.
Isn’t this better than the way it is now, where Personal Colour Analysis implies that we’re doing the same thing and nobody’s ever happy and calm? Why wouldn’t an analyst want her clients to know how she can help them? Why would you, as an analyst, want your business lumped with mine in the public mind, when I cannot offer a client what you can? Businesses define themselves all the time without taking offence or hearing criticism. It’s normal, not harsh or unfair.
If I define my business, what I do and why I do it, it is not to say others are wrong. It is to create a space for everyone else to do the same thing. I get that the transition from One-Exercise-For-All to Yoga/Intervals/Step/Weights/Pilates/Core/Running/Bosu/P90X was frustrating, but I believe that someone has to lay out a path for each version can grow and improve, released from the constraints of the pack.
We could distinguish PCA services. They are totally different from beginning to end, though various mixtures have evolved to get the consumer really mixed up. There seem to be two broad categories.
Systems A to D have their colour palettes. The colours for each group are chosen for looking good and belonging together according to that person or company’s taste.
If draping is involved, which drape goes into which Season was decided because it looked right.
As well as judging swatches and drapes for Seasons because they look right, so is the client’s colouring observed on its own, by how it looks. A – D observes the surface person, believing that, “You truly are what you look like you are today.”
This is one definition of PCA and its desired outcome. A – D have a good argument on side. After all, we are judged on how we appear to look. If you believe in this method, the clients who agree want to know so they can find you. They will be unhappy and confused with my approach, which involves measuring palettes, drapes, and clients by multiple comparisons at every step. On your web page, define what you do and why you believe in doing it that way. Since I don’t understand that way, I cannot do justice to your business. I’d be lucky to match a paint chip from a choice of 100 similar colours, never mind isolate it from a face.
Only you can market and promote your business. I am not tearing anyone down, I am simply defining my business. If my approach sounds flawed to you, I would be first to read about why. Teach me something. That’s what I really want. Convince me of how I could improve. I’ll send you a free book to express my gratitude.
Here’s how it all looks to me: Systems J – M say, “I’m not so sure. First of all, my colouring looks different in every outfit, hair colour, and room lighting. Second, I know that humans are not good at knowing what a colour is on its own, let alone when many colours are mixed together, like in a face or in skin. As soon as colours touch, they change. Thirdly, our colours just can’t be expressed in the top layers of skin, or not only there. It makes no sense. I mean, why is my face is different from my hand from my belly? I need to bark up another tree if I’m going to find the right foundation.”
J – M then say, “Even if all my body parts were all the same colour, who knows the exact colours in skin? Look at ten people with their hair covered and their eyes closed and tell me the exact reds, greens, blues, and yellows in their skin tone.”
J – M stew some more and add, “One other thing. I think it all goes a bit deeper. The impression of our appearance is formed by many brain areas, not just a 2-dimensional top layer snapshot. Something else is going on here. Believe it or not, human surface skin is see-through to human eyes. Seems to me that that’s where the real information is.” While some human beings are better at eyeballing colours than others, and one does get better with practice, the fact is that in general, we are not consistently good at it. You have to compare them to something unless you’re able to literally measure their wavelength.
J – M say the surface is not enough information, it’s different for different body areas, and it is influenced by everything around it. If you gauge foundation to the colour you think you see on the surface, even if you pick the right section of surface, you could easily get the colour incorrect. There has to be another way.
Services J - M look through and beneath the surface at the undertone, thus removing the errors the overtone brings in. This group take the “You are not what you look like you are.” approach.
Well, anyone who has spent 10 minutes on an online colour site knows that the Sci\ART-based systems fit in with J – M but they don’t do things at all the same. Some don’t use the gray surrounding. There is lots of variability in how Better and Worse decisions are made. Some don’t use test drapes. Some take 30 minutes to know your Season, some take 1.5 hours. There is conflict about the meaning and appearance of harmony. Numerous Sci\ART- based analysts practice very close to how Systems A – D do things, by what looks right, with their own reasons for doing so. Not wrong, but different for sure. Too different to match.
None of this is a secret. It ain’t a perfect world. The public thinks we’re all doing the same thing because we stemmed from Sci\ART. This is not the case. It explains why I took down the Sci/ART Analyst Directory. I do not presume to speak for Australia, but in North America, the Sci\ART system has been re-interpreted so many times at this point that the name should go out of usage except historically. Let all analysts stand alone according to their practice, which they explain on their websites. Refer back to differences with me if you like, I’d be fine with it. Take down all the Sci\ART Certified banners. The public will stop expecting the same product. For my students, so that the public can expect the same product, the process isn’t up for negotiation. Discussion, sure. Do I think I can control everyone forever? No, just as Kathryn couldn’t. I can only separate myself from them in a public way.
Looking Is A Painting. Measuring Is An Analysis.
If we render what we see, that’s a beautiful painting. Change your clothes, hair colour, and the time of day, it’s a different beautiful painting.
I have nothing against beautiful paintings. A group of interesting colours that depict a version of me would be awesome. I would really love to have this. There are people who work in this way, with extraordinary taste and fascinating colour perception. I would love 1000 of these renditions. Each one is a version of how we are seen through the eyes of others. That stuff is absolute magic.
But that wasn’t why I had my colouring analyzed. I wanted to know what to buy every day for the me that’s always the same. Different question, different purpose and approach, different outcome. I wanted a functional wardrobe.
The consumer needs to identify what they want. It is their job to decide and to stick by their decision. Perhaps they could do their job better if they could understand that they are not investing in the same product. Both great products, but not equivalent. I know colour analysts who feel these are or should be comparable products. I disagree and advise the public to stop trying find a relationship between them. There isn’t one that will redeem the time you took to figure it out.
Here’s why I use my product: My issue with looking: I can’t get it to work every single day, with many outfits and makeup that is always right on my face.
I meet greenish-gray-eyed Summers that were decorated far too warmly. Her hair is too orange, her clothes are too warm, so the skin turned yellower. It could all go together if we just give her yellower foundation and took time to blend, except that her clothes and eyes create combinations that are unappealing. Therein lies Problem #1, even if we can change our skin, we always wear our eye colour. The colours in eyes repeat the colours in skin, though skin has many more. They’re never different. Nature never colours anybody discordantly. Do your swatches look good with your eyes? Even True Winter and True Summer can easily have lots of yellow in the eyes, lots, but it will be that green-yellow match from their measured palette.
In too-warm clothes or foundation, she could think she has a healthy-looking tan. In reality, her eye colours have dulled and the lip outline erased. Feature definition is the biggest part of looking young (good article linked further down). It’s massively important to decisions others make about us. Me, I’d want an analyst who could talk about that, Sci\ART based or not. Problem #2: too warm colour flattens feature definition. This includes too-yellow foundation. Besides, a healthy glow doesn’t come about from yellow foundation or a yellow overtone from too warm clothing (not discussing self-tanner on faces here). It comes from wearing clothing and blush that elevate the colour of our natural circulation and from correct use of bronzer.
I meet many brown-eyed, freckled Winter blends who have been observed into Autumn colours. Nobody would decorate a room combining Winter and Autumn colours. This is not an attractive match. Our eye and clothing colours are seen together and there’s not a thing we can do about it (not discussing coloured contacts here), as is the undertone because human eyes can see through human surface skin. A Winter’s skin colours are not gorgeous next to Autumn cosmetics. A Winter using elephant gray and chocolate brown as the neutral backbone of her wardrobe is not making her best choices. The wardrobe won’t work with her makeup or jewelry. Problem #3: from you to your palette, there has to be a functional and appealing wardrobe of clothing and cosmetics if that is what you were investing in.
I believe that we are not what we appear to be in a million different ways. My purpose is to place you more organically and energetically into your colour palette, on the same wavelength as all of your clothes and makeup, in the colours that you really are as determined by calibrated measurement. Why use the word energetic? Because I believe humans feel energy as wavelength very well if they let themselves. Now the discussion is getting too deep. I direct you two articles back to Can True Beauty Be Diminished? if you feel like wading into the Universal Energy swamp. You can always find me there.
Big digression complete. We can all exhale.
4. The area of the face that Lisa matches to foundation makes sense to me. I like to use the lower jaw and drag it down onto the backside of the neck, for the same reasons as she does. I also test five or six different stripes side-by-side. With colour, comparison is the only way to tell what works and what doesn’t. I would insist on that and never buy foundation from a single test. I meet way more cool and cool-neutral people than warm or warm-neutral. The foundation range out there is way the opposite, not counting all the peachy coloured product that looks like real skin colour under department store light and like candy in daylight.
5. Wear a neutral gray and tie your hair to choose the colour. Deciding your Season or your foundation by looking requires the consultant to take what they think they see, and make more. If what they think they see is correct, great. Some cosmetic consultants are pretty darn good judges of true colouring.
If you went shopping as one of the many Dark Winters who look yellow because of their clothing or surroundings, the only thing that happens is that the error gets magnified. The consultant will make more of what you’re not. Could most makeup consultants explain how to correctly distinguish and identify undertone from overtone, or just define the terms?
6. As Lisa says, once you have a colour that unites the face and the neck, meaning the right foundation for your undertone, the entire face, neck, and chest will blend together. It is the very rare person who needs to adjust foundation to match the neck because they are so disparate in the overtones.
Begin by getting the heat level of any product correct. Heat level is determined by undertone. It is amazing what difference that alone will make.
After that, choose the darkness level, which is determined by under- and over-tone.
After that, be sure the heat type is correct for the skin. Most companies over-warm all their foundations, including those marked Cool. To complicate things further, they use Spring’s pigmentation to do so. Not easy to find a great Autumn foundation.
Imagine being a Caucasian Dark Winter – the difficulty of finding cool colour and Autumn type heat and Winter level lightness. Wearing wrong colour clothing to the appointment makes the job near impossible.
7. Often women come to a PCA appointment with correctors of various sorts. Once she is wearing her correct clothing colours, she has forgotten all about them. There is nothing that correctors would do or could do that foundation alone has not already done unless there is a particular issue like a birthmark, and even those are diminished greatly by wearing correct colours.
8. I talked above about the importance of defined features for looking younger. This article does a beautiful job of discussing it. Kathryn Kalisz wrote about it in her analyst guide. This is not new information for colour analysts that I dreamed up out of the blue. People say I invented things and changed Sci\ART-based colour analysis. No, I did not. If anything, Terry and I altered the original process the least of everyone, and remain unconvinced to do so. I did notice a few things independent of other things and described them with a new set of words. Maybe folks did not recognize them.
In your correct colours, features are most defined in colour and in shape. It really matters.
Defined in colour… Though they have a place, I am not a fan of nude lips on most types of coloring, particularly when hair or eye colors are intense, or the person is over 35 or 40. It doesn’t have nearly as much excitement on Lisa herself. Why pick the more exciting face? Because why pick the more boring face.
Defined in shape…How does feature definition look young? Because the opposite…think of an eroded statue, an eroded landscape. Signifies wear and tear.
Lately, I am wondering if maturing skin is an overtone change too. The surface layers appear grayer, possibly because we contain less water. In the undertone layers, we test mature women in every single Season, and I bet the very same Season as when they were younger. Many Darks, many Brights. For overtone practitioners, that surface grayness plus silvering hair is the reason they get put into Summer Seasons. Except their edges and colours disappear. No judgment here but I don’t see the visual as being so good. Eroded edges are fuzzy. Looks like blur. Side by side, which of these would look younger?
Stronger? Healthier? Newer? The focused ones or the others?
Numerous requests have arrived to offer the Luxury Drapes as single Season sets for clients who have enjoyed a 12 Season Sci\ART-based Personal Colour Analysis. I am very happy to do this.
Do you know which drapes I mean? Once we knew your Season with the Test Drapes (took about an hour, hour and a half? with me or Terry (my excellent trainer, always my teacher, we work as a team on the drape colour selections)), but before we removed the fabulous gray scarf that you wanted to take home and wear forever but I wouldn’t give you
we took a separate set of drapes out of another tub. These Luxury Drapes were heavy and kept slipping off. I began by reminding you “Don’t think of them as 15 turtlenecks.” We turned the pages and talked about how you wear your colours. Once your makeup was on and the scarf off, we looked at these drapes once again. In some cases, if we weren’t sure about your Season, we might have compared them with another set, choosing a blue and a blue, or comparing colours that were extremes for the two Seasons.
There’s great value in having an experienced colour analyst (two of us, in fact!) translate your swatches to their manifestation in fabric. Once you see how 15 of your colours are interpreted in various textiles, it’s far easier to extrapolate the other 40 to 50 colours in your colour palette.
The drapes will be the full 18″ x 34″ size that are in the analyst sets, grommetted, stamped, and tagged, exactly as the analysts are using.
Full sized drapes, rather than napkin-sized pieces or smaller squares, are my preference by far. You just gotta have enough colour. As with cosmetics, if the colour’s right, you can wear any amount of it. A small sample doesn’t challenge our colouring enough to show us that it will adopt or reject a colour. It won’t bring out all the possible good or enough surefire evidence that’s it not good. The large size allows you to reach the drape fully round your shoulders to get the most colour effect.
You are buying these fabrics to visualize harmony with your colours and features, and also to imagine a wardrobe and the interactions among its colours. The large size ensures that you have sufficient fabric to make outfits. The blocks will be big enough to demonstrate what equivalent energy means. More colour makes it far easier to decide whether a colour can take part in a relationship, or will be not enough or too much. When Terry and I are challenged with a certain colour’s Season, we lay out the Luxury Drapes with the mystery item in the chain. If it doesn’t belong, you can spot it right away.
You will enjoy watching the two-way energizing effect of true colour harmony. Lay your fanned out swatch book palette on the drape fabrics. Notice that each every colour is very vibrant, in focus, and the fabric underneath is also the most it can be. These two things bring out the best in each other. Understand this better by placing your swatch book on items in your house, furnishings or other clothing. Pay attention to the swatch colours and to the colour underneath. Begin with an item that you know is far from your own colours. Notice that the palette lacks the colour energy and vitality that it has on your drapes, or the opposite, that the palette is dominating the background colours, as if it were separating or sitting far above it. What is happening to the palette is happening to your face. Every item you buy should cause every swatch of the palette to be as strong, and strengthened equally, as it is on your drapes.
Analysts already have white, yellow, green, blue, and red in the Test Drapes. The Luxury Drapes contain colours that we don’t test with (purple, for instance), beautiful versions of colours we do test with (more greens, reds, and so on), and more versions of colours that are spectacular on that particular colouring (turquoise and shine on Springs).
Test colours are somewhat proprietary and won’t be included. However, I do feel that you should have your white in your Personal Luxury Drapes. One colour will be substituted for white in these sets (unless you indicate otherwise). If there’s a certain colour that you’re having trouble with, say Summer yellow, I’m happy to substitute that as well.
At this time, I have a fairly large fabric inventory. Limiting myself to only 15 colours per set for the analysts can be a struggle. I want everyone to have every colour. You are welcome to request as many colours as I have (price below). You are also welcome to request certain types of colours (reds, level of shine, hair or cosmetic colours, neutrals, your black or alternative), if I have that material. Once a set has been purchased, adding to it in the future is too complicated to describe. Best to buy everything you might want the first time.
A personalized letter accompanies the purchase. It outlines the information held by the drapes and how to make use of them to guide your purchases, with situations that might arise for each Season. For example, the Neutral Season drapes will contain the warm and cool versions of most colours.
The precise fan colours are not necessarily represented and they don’t need to be. Maybe it’s better that they’re not, to give you a sense of the Season’s borders in colour space, often wider than what the literal interpretation of the swatch books suggests. Remember that you have a thousand colours that are not in those fans. The drapes can teach you to select any colour that can harmonize with your Season.
I am excited to make this vital aspect of a working colour analyst’s tool kit available for you. The more ways you see your colours, the better you understand, recognize, and use them. There’s nothing I want more.
To support the colour analysts, it is only right that they purchase the drapes at a lower cost than their clients.
Retail price for a set of 15 full sized drapes is CDN $465 ($31 per drape), therefore 15% more than for analysts.
For Canadians, the 13% HST is added for a total of CDN $525.45.
Drapes must ship from Canada. Residents of other countries do not pay the HST. I cannot say what duties or taxes are required in your country.
Only one Season’s set will be sold to an individual.
Other colour analysis systems use different colour collections in their Seasons. I don’t want our palettes to create conflict in their clients’ process or practice. In your inquiry to me about the drapes, please mention which Sci\ART analyst you saw for your PCA. This purchase is not refundable so do feel very certain that the answer is correct and you feel good with it.
If you would like to purchase your Personal Luxury Drapes, please email me at firstname.lastname@example.org.
I appreciate every comment that has been offered on this site over the years. I also respect that those comments were made with intention to learn, but also with kindness, remembering that there is a human being on the other end.
A Place to Learn Together
By human being, I’m not referring to myself. I welcome all critique. Mostly, I want this to be a safe place to seek and find truth and the highest possible potential for me, you, and colour analysis. This site is also a record of my own growth as a colour analyst. I felt the need to remove all the videos from here and YouTube because I don’t recognize that person as me anymore.
However vulnerable in the moment, old patterns need to be seen for us to separate and leave them behind. We have to recognize mind chatter about colour analysis, as about all our beliefs. Our mind is driven to protect old beliefs that were acquired years ago when that was the best we had.
In what I’m about to say, I am not criticizing anyone. I am offering you a new strength. In trying to follow these new ideas, know that you are very supported by the many who have understood this now.
Kindness in the comments would encourage me to post more photos of how the Seasons of human colouring appear in the real world. Problem is, they end up on 100 Pinterest boards and a million other places over which I have no control. I know that you would love to see them and I would love to post them but I can’t protect the person’s privacy. If you have no concerns about where your photo ends up and have been correctly analyzed, send me your picture and I’ll be glad to post it (email@example.com).
Some have said that Hanka can’t be a True Winter (article A Blonde True Winter), or that I am not a Winter of any sort.
With every respect, how in the world could you know? The computer you’re reading this on denies you every single tool you need to evaluate, or even accurately see, human colouring.
You don’t have a grayed environment. You have a busy background that influences colours. You could be reading on your phone on the subway.
Instead of accurate lights, you have whatever lighting the time of day requires and the room you’re in offers. We have no idea what any person looks like till you see them in full spectrum lighting. Students remark on how surprisingly much faces changes just by switching from overhead room lighting to properly placed full spec lights.
You don’t have access to skin in the photos on this site. They’re wearing makeup. I’m happy to post photos of women with no makeup if you’d like to send me yours, email address above.
You don’t have drapes. Or anything else for the skin to react to. Of the many companies out there offering PCA services, I would have to hope that if we agree on one thing, it’s that the ‘analysis’ part of PCA refers to the evaluation of simultaneous contrast effects. That word, contrast? By definition, it means between two things.
You don’t even have the person! Ever met anyone who looks exactly like their photo? I haven’t.
Easy to forget about the water. Until something ripples it.
Be careful about the medium. It inserts itself so subtly that we don’t even know it. Media isn’t selling truth. It’s selling the medium. It’s selling itself. The newspaper isn’t selling the news, it’s selling newspapers. Five newspapers have 5 different versions of the news. Only 1 thing happened. People are only 1 Season. But the newspaper changed what happened and we forget that it took up the space between us and the real event.
The lights, the gray room, their purpose is to null the medium, to cancel it back to Zero Effect, so it can’t distort our perceptions in the ways it so very much does.
The Real Basis of PCA
There’s one other thing you might not have. A grasp of what real PCA is actually measuring: colours under the skin in the capillary layer where the blood travels. The so-called undertone layer.
That is where the truth of your colours is expressed and consistent, despite surface changes like suntans. At the level of circulation. That’s what the drapes are reacting to. We’re biologically adapted to see through skin and are hugely sensitive to tiny incremental changes.
Humans are gifted with the ability to see through human skin to some degree, as Dr. Mark Changizi has demonstrated and described in his book, The Vision Revolution (discussed in 12Blueprints article Different PCA Systems, Different Results). A photo or a monitor only gives you the surface. That’s the limit of what it’s capable of. Only real human eyes, connected to a human brain, looking at directly at another living human is capable of see-through vision, or Xray vision, as Dr. Changizi calls it.
That’s why gadgets that take photos of the surface are quite limited, unless I have mistakenly reduced their scope and they are in fact contacting the lower levels of skin. Now, if it’s just a surface photo, this would follow a very different practice of colour analysis than mine. Never mind how many times each step of the software altered the colours between the gadget, the computers, and your eyes. About 4 to 8 times. Kind of hopeless.
When I’m sent photos, I place no faith at all what they show me. I don’t say much because the medium has utterly clouded my analyst’s eyes. I wish women would stop sending me photos. Besides, I don’t believe I’m here to do it for you. I am here to ignite it in you, show you how to do it for yourself, and bring it to your communities.
Surface acquaintance may be why little machines that match foundation did not work for me. Foundation must match surface and undertone. Dark Winter surface skin can appear quite yellow. True Summer skin can tan quite golden, but when analyzed correctly with accurate drapes, the person remains a True Summer. We’ve proven this to ourselves in the training courses, depending on the models we had for that session. The foundation that matches them remains very cool unless they are quite tanned.
Amazing what cameras and computers can do.
But, listen, seriously, nothing against your skill. Maybe you’re a genius. IDK what you know and don’t know. You might be fabulous. How would I know how current you are or how many clients you’ve draped with excellent drapes?
I just know the medium is dangerous and pointless. You don’t have access to the lower layers of the skin. So you’re sunk. You have absolutely no accurate data from which to draw conclusions. All I’m saying.
Averages, Meanings, and Old Formulas
So what do you have? All you’re left with are the stereotypes and the patterns to fall back on. That’s all this medium can give you. It took away everything else. You’re forced to use averages. The old, wrong conclusions. You look dark so you must be a Dark Season. These walls need to come down for us all to move forward.
By the way, forget the words, OK? Dark, Light. It’s not about whether you look dark. Has nothing to do with it. There are dark, medium, and light looking people in each of the 12 groups. Sure, Steve Jobs dark is not likely a Light Summer, but Maggie Gyllenhal is entirely plausible.
When someone decides you look dark, they’re looking at your hair and eyes. The old, wrong patterns again. Do you really see Steve’s skin as much darker than Maggie’s? Did you even think about their skin? Dr. Changizi has shown that humans don’t register healthy skin of the same race as having hardly any colour – an evolutionary adaptation that allows us to be wildly sensitive to the slightest changes, and a brilliant one.
It’s not about whether you wear dark. Nothing to do with it. Everybody has light, dark, and medium colours in their native colouring and in their colour analysis swatch palettes. Hanka is a very normal darkness level for a True Winter, seen it numerous times. So is Kim Kardashian. And they go lighter than that. And they can have red hair. And yellow in the eyes. If you haven’t seen that being draped, how could you say if I’m right or not? What if I said that in the photo of Hanka linked above, the yellow hair colour is dulling her skin, lip, and eye pigmentation and from that photo, nobody has any idea what she looks like or what her native colours are?
The meaning of those words refers to how those kinds of colours react to your skin. That’s it. Let your analyst worry about the words. I need you to put your attention in the right place, which is learning to match your swatch book in stores.
Does anyone see their skin as very different? His teeth are cooler. Her eyes are darker. Wait, looking at wrong things, back to skin tone. Well…I just don’t know what to say. How much has to do with different ages? Between men and women?
We all play the guessing game. It’s fun and interesting. A colour analyst can recognize the mind chatter, that it’s just a reaction, and can clear it out when the analysis begins. She has been taught to recognize the far bigger picture.
We’re stuck in ruts so deep we don’t even know it. We need comparisons. Many different ones. Like training any muscle, we must give our lazy perceptions lots of different relationships, shock them, force them to adapt. If they’re right, they better be ready to prove it before I tell anyone they’re a Season.
12 possible outcomes, equal probability of each.
The guessing is done. The lights go on. The draping begins. You get your answer.
Great Q from readers,
1. Obviously Light and Bright Spring share the same parent Season, but I wondered how Summer/ Winter manifest their influence on the palettes and on the people?
The Light Spring palette contains a Summer touch, which alters the True Spring colours by doing what Summer does … it cools, softens, and lightens them.
Under the wave of Winter’s wand, Bright Spring is overall darker and goes to a much darker endpoint (the lightest to darkest range is very wide, getting close but not fully to pure white and black), and is strongly pigmented. Its heat level is the same as Light-Spring, meaning on the warm edge of neutral, where neutral is halfway between warm and cool.
I can see you there reading, thinking, “Yes, yes, I know all that. But how much does Summer cool, soften, and lighten True Spring?”
It’s impossible to describe verbally and is best understood by seeing it. You can see some pretty good approximations by searching ‘Season palettes’ on Pinterest, my new favourite hangout. I bring my iPad to bed. I’m like Harry Potter under the covers with his magic wand long after he should have been asleep. Scanning those pictures to add to the two boards, Shopping for Your Season&Style and RealWoman Sex appeal, is addictive. Social media, ay? Once you find the right one, it owns you. Rachel, whom you’ll meet formally soon, is to personal line and shape analysis what I have been to personal colour analysis. We contribute to each item pinned from both perspectives. Very cool information, very cool way to shop.
The blue book over on the right, RTYNC, contains 28-colour layouts (also pretty good approximations) of the 12 groups to give you a sense of the jump in the colour dimensions from one group to the next. It also contains a lot more verbal description and analogy if you learn better that way.
How does Summer manifest in a Light Spring person? Even harder to nail down. The person does not usually have sharpness, which might mean in features (Julie Andrews’ nose and teeth) or character. See the woman wearing the pink dress in Polyvore 4? Could look about like that, though happier expression.
But where’s the line? What would you call sharp? Is teasing sharp because Lights have that? They can certainly have pointed chins, eyes, and teeth.
2. How do Summer and Winter’s presence come across in Bright Spring people?
Summer tends to create a person who is more aware and concerned of how others think and feel, but not always. Summer has great decency. In Winter, there may be less concern with saying what others want to hear and more emphasis on fairness, and that is decent too.
We could say that Summer contributes a pleasant, well-mannered character. Sounds watered down. Light Spring is by no means dilute. The person may be very talkative or quite spunky (as opposed to determined, more Autumn), which come in with Spring. That said, a Summer can talk, oh boy, as they work through ideas. They have plenty strong intentions, especially when they feel honour (not quite the same as Winter’s pride) lays in the balance.
As they learn the draping process, students are shown how to deliberately seek out the effects of the 4 True Seasons’ colours in the client’s face. Later, as the drape colours become more specific and the presence of certain Seasons may be much smaller, they remember those effects from the coarser level and can come back now and apply them on a finer scale. In the story that follows, how would Winter and Summer manifest in a person on a much finer scale (since, in 12 Season PCA, Light and Bright Spring contain a small amount of Summer and Winter, respectively – how small? Different in everyone. Some Light Springs have a lot of Summer, some much more Spring.)
Summer and Winter visit their friend, Dara*. Dara is trying a new Style in her clothing choices. Her husband, Ted*, has a successful sign-making business and they just built a new house. Winter sees the house and Dara’s clothes. She thinks, “Yeah, it’s a nice house. I might try those kinds of curtains. I’m not so sure of my Style type. I think I have more Yin and need rounder lines and more decoration. I’m being too minimalistic.” Winter goes home. She thinks and thinks and searches and thinks and studies pictures and makes her mother look at a thousand images on her phone (which the mother thinks all look the same but no way is she about to say so). Next time you see her, she’s added a silver chain. Had to take off the earrings and bracelet though, they were too much. Her clothes are about the same. You ask about her visit to Dara, “Her house is very nice. What else can I say? It’s her house, got nothing to do with me. I was impressed with her new clothing styles. She’s right about herself. I’m evolving my own style.” And you sit there thinking, “Is this a trick question?”
Summer calls you the day after the visit. “Dara’s house is so beautiful. She looked great, she always does. I hope she’ll be very happy there. Didn’t you feel so sad for her? (Winter is thinking, “Is this a trick question?”) Deep down, she despises that house. (Summer’s eyes are all big and round and teary, and she puts lots of feeling behind her words, especially despises.) Dara doesn’t enjoy it, she wishes they were back in the old house. All she can feel is Ted’s business taking him away from her all the time to pay for it. I’m just baking her some banana bread for the kids and taking her out to lunch later today.”
How does Winter manifest in Bright Spring? They hold themselves a little apart. Their feeling about the world and their place in it is more controlled. When Summer and you have a conversation, she’s nodding. She can hear how you feel. Winter is moving very little, conserving emotional output. Summer is using her hands. She is out of herself , thinking about she relates to you. She sent you the testimonials you asked for within a week of getting home :). From Winter, you’ll be waiting. She got home, went back right into own her head, and will think of you in terms of how you relate to her.
3. I heard the palettes are similar – do you see Light Spring as a lighter version of Bright at all?
They’re similar but just lightening Bright Spring won’t get you Light. Maybe fading Bright might do so with some complement and lightening it with some white. Light Spring is creamy, which gives it a frosted glass haze or milky glow that Bright Spring absolutely wouldn’t have. The Bright Spring windshield is crystal clear and the pigment concentration is dialed way up.
It’s like the difference between
Both warm-neutral to warm. The Bright (bottom) has icy colours. Light (top) doesn’t approach white. Note that neither image represents the whole palette nor what is possible with it.
4. Could they theoretically borrow any colours (even though this isn’t the best option)?
I’m glad that you asked this good question. I feel that I often answer Q wearing one of two hats and how are people expected to know which is on when?
You know how you fan out any swatch book and no colour is more or less than any other? Your attention is equally divided when the fan is opened up. They have equal visual energy. If you moved one of those Light Spring flowers into the Bright Spring bouquet, even if the colours were all pinks, it would get a little lost. You’d ignore it more. If that were the blouse, worn with a Bright Spring skirt, you’d be looking at the skirt.
If you lifted the butterfly onto the Light bouquet, it would be hard to see anything else. As when a Light wears a Bright’s lipstick. When palettes have a lot in common, as Light and Bright Spring, some colours will work well enough but others will be too prominent. The pinks might be quite comfortable and belonging but the yellows will jump out at you.
Wearing the first hat: In a theory situation, as the question states, such as during the training course, the answer is no. We learn how to place any colour, clothing, cosmetic, or any person, into one Season. The Q is, “Which 1 of the 12?”
#2 hat is worn when advising a woman shopping. She is using the system in another way. The only question she needs to work out is, “Me or Not Me?”
Each application is equally important. First, we learn the rules of the road and the driving laws. As drivers, we take shortcuts with a subconscious sense of where and when. The woman who understands her colour palette can discern which shortcuts are safe and logical and which will be unsuccessful. She’ll have a few fender benders along the way but at least she’s behind the wheel of her own car, taking herself where she decides to go.
Say you’re the woman shopping. Working through the compromises of the retail world might open up 5 more questions,
- How close in colour is good enough? What kind of person am I on this subject?
- How fast do I need to buy this item?
- Am I spending $50 or $500?
- Are the lines of the item so exceptional for me that I’m not passing it up on a little colour issue that will make hardly any difference. You can see examples of this on the Shopping for Your Style and Season board at Pinterest. (the link at the bottom of the R column on this page may take you there, but the website is having a mini nervous breakdown about weekly till it’s upgraded. The link is here too.)
- Do I think the colour might be Light Spring and I know I’m a Bright but I think it looks great in this composition?
- Is this an item that really could fit well into several Seasons, even according to uptight analysts like Christine? When I look at the Shopping for Your Season and Style board at Pinterest, most items are good in two or more groups. She must be wearing #2 hat. (You’re so right. Sometimes, it doesn’t matter. PCA is a life-transforming tool, like a driver’s license or a computer. I want that for you. Being too rigid means missing too many fantastic clothes.) In both hats, jewelry and makeup are definitely mobile in most cases. Many clothes too, if they’re not right up under the face or are in small real estate. Not every element needs to be perfect for the whole thing to harmonize very nicely. In many paintings, prints, and ensembles, the other colours help create the belonging.
Mostly Light Spring
Mostly Bright Spring
5. Some of the warm pinks/apricots look similar – how do I know if I’m looking at Light or Bright Spring when choosing these colours?
You can think colour correctness to death and still get it wrong. I do. We all have to compare it to something. You can compare it to anything, a cosmetic, another item of clothing, a painting, a cushion.
Women who own their own Luxury Drapes (or a closet that is colour accurate) can place the item among the good colours and see if it holds its own, is more, or not enough. They’re full-sized drapes so it’s easy to see colours balance and energize. The article about those drapes is being moved to its own post, it will reappear soon.
Because these 2 colour groups share so much, to choose between them will require forcing the extreme that the other won’t tolerate. Light Spring’s muting will be Bright Spring biggest complaint, while Light Spring will ricochet back the other way when she sees the darkness of Bright. So compare to black. It’s dark and saturated. The booties on the bottom next to the perfume – the peach must be Winter influenced to be energetically equal to white and black. The yellow jacket, the same. There’s enough peach in the peach and yellow in the yellow to balance a lightness extreme (white) and a darkness and saturation one (black). These may be Bright Winter outfits because the white and black are not in Bright Spring colours, but they’re useful to judge the balance.
Some colours matter more than others. The peach coat (lower image) might be a little weak but it’s workable. Gray is good at becoming what’s around it. Jeans adapt pretty well if their darkness level is the same as the overall for that Season and they’re just blue. Red and green are less cooperative. Sometimes, it depends on the viewer. Some people are very sensitive to yellow. I am to orange. These colours are either right or not right, but there’s not much you can do about that.
How about the coral dress that appears in both layouts? Where is it energetically more even in the composition? Compare it to the bouquets as well. Is it perfect in either? Is it workable in one, both, or none?
Light Spring was looking all dreamy and holiday till I inserted that green purse. Is that item helping the nice feelings or is it taking over? Is everything around it washed out and falling back? That’s what a Light Spring woman looks like wearing Bright colours. She fades and drops – or, looks older and tired, like the Light Spring clothes next to the purse that look something that doesn’t feel good…. washed too many times…dirty…dull? The green looks aggressive plus it’s all you can see.
Shopping for Bright Spring (Looking Normal)
Neutral colours (beige, taupe) could be matched a little more closely for Spring where they can be a little blah, but they’re still versatile. Where Summer and Autumn wear these colours flexibly, and Summer and Winter can share some grays, Spring colouring wears colour colours more easily than beige and gray (IMO). Also, when we wear our neutrals, they tend to be in large block items. To excite the composition, neutrals with yellow, not muted orange (=earthy). The beige sweater in 4 (and the pants with the orange top in 3), I have no idea where it harmonizes but it works OK. Next to the very shiny necklace, the sweater isn’t looking dingy, clumsy, or chunky the way an green-beige or camel Autumn colour could on this woman. Both versions of the tights are great. Add colour somewhere!
Again, use black to judge belonging colours. Light Spring loses energy even faster than next to the green purse. Bright Spring gets close enough to black and the colours can balance black without losing ground. The woman in the pink dresss in 4 can hold her own with the earrings but you sense some conflict. Before reading this, you thought, “Why’d she put those earrings with that dress?” Because now you get to feel it. There were a million worse choices, but still, this is not settled. I could have wasted paragraphs.
Black is quite useful in the Bright Spring wardrobe:
- to crisp edges of colour blocks, as the earrings with the mint blouse in 4,
- to outline shapes in a thin black line, as in a print or colourblock, which gives a cartoon appearance that is so right on Gamine body shapes,
- to darken the overall effect selectively without dulling, cooling, or darkening the colour blocks themselves,
- to add Winter’s formality,
- to slim this woman who can balance black, as the mint top and black skirt in 4, the colours are getting along fine, the black is a little strong but it doesn’t appear visually larger
Shopping Search engines are hugely helpful. Polyvore is great. A Light Summer asked recently where to find pants. At sites like Polyvore and Shopstyle, the retail world opens at your feet and it’s uncommon to find items sold out. They are a fantastic way to find your white items online. You want jeans that are a little on the green side? As a Light Spring, the answer is, “Sure do!” Give me 15 minutes. I’ll find you 5 pairs.
6. What do Light Spring colours look like on Bright Spring?
Weak. The way the creamy peach flower from the top photo would look next to the oranges in the bottom photo.
7. What does a Light Spring woman look like in Bright Spring clothes?
Forgettable. What happens to the Light Spring bouquet when the butterfly lands on it. Tired, like she’s having the life sucked out of her. All her sunshine glowing peaches and cream radiance is gone. Between her feet and the top of her head, all you see is clothes.
8. 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 harmonize with the fan…
Very saturated could include the 3 Winter palettes and Bright Spring. True Spring doesn’t have hot pink.
9.a) The person who looks very wintery with dark hair and pale skin. What are the signs that she’s Bright Spring?
There are none other than how her skin reacts to the drapes. The women in the Polyvores could all be Bright Springs. Or some kind of Summer or Winter.
9. b) Should she do anything different with colours or combinations?
She probably sits closer to the cool side of her Bright Spring colouring, near the Bright Winter pigmentation. She many find that the cooler colours in cosmetics work better.
She should still wear the entire Bright Spring palette as clothing and jewelry. Those colours are all in her if the drapes measured her as Bright Spring.
I don’t get caught up on the contrast thing too much, I think it’s built into the palettes. Some women of this colouring may feel quite contrasting and prefer wider distance between lightest and darkest colours in their outfits. This woman may look (and feel) more Winter and use more jewel tones, icy lights, neutral colours, formality in apparel, and boldness in cosmetic application.
Here’s what I think about that coral dress from the top Polyvores. It is not beautiful in the Bright Spring group. The peach coat may not be perfect, nor the yellow shirt on the L side, but they don’t detract. The dress is dull and detracting. In the Light Spring composition, it feels better but it’s a light sink. Light should bounce out of a Light Spring palette like sunbeams, like Creamsicles. It should feel fresh, light, and happy. This dress is not what an apricot tulip would feel like. If you cover it up, the rest of the group gets better, so it’s detracting here too. Still a lovely dress. Might be just the photo, might be an Autumn colour, this is what PCA from photos is like. No idea where this item would fit and would need to try it IRL to be sure.
The article , Getting More From Your 12 Tone Swatch Book, talked about the most effective way that I know of matching the colours in your palette. (Edit – about the link not working, very sorry, I fixed it twice and it’s working on my machine but nobody else’s. Here is a new link. Also the link to paste into your browser: http://12blueprints.com/getting-more-from-your-12-tone-swatch-book/)
Terry discovered it. Together, I think we’ve made it into an absolute art form, still recognizing that there may yet be a better way.
Your palette or swatch book is a diagram of the colours in your body separated individually. It’s the board the artist dipped her paintbrush in when she filled in the lines of the sculpture of you. Which is a beautiful concept, IMO.
In the same way that, when I look at you, I don’t see only your eyes or only your mouth, neither do I see only your blues or only your reds. I see everything all at once. Your pinks are not stronger than your greens. When the swatch book is fanned out, no colour is more prominent or more vanishing. Our attention is divided equally.
Looking at a painting with a more prominent colour block – that colour grabs our attention and won’t let go; that block seems to get bigger in our awareness. Black is not slimming on everyone.
Great makeup elevates the composition of your face like it’s been there from the start. Each colour enhances the woman and the rest of the makeup. Wonderful blush intensifies eye colour. Lipstick clears dullness out of skin. Foundation alone should strengthen eye colour. Eyeshadow and lipstick are beautiful together.
When I see you wearing a blouse, I see all of you in that blouse, all the colours in you together with the blouse, hopefully bringing out the best and most in each other. I don’t see only your purples matching the purple of the blouse. Trying to match a blue blouse to one blue dot or square of the swatch book will make a less-than-best choice most of the time.
For one thing, our eyes are not that good at matching colours from single, small samples. Our brains are not good at all at recalling colour accurately. We think we’re good at both but the fact is, we’re not.
Besides, we have many more colours than what’s in those books. iPods came along so you didn’t have to carry around 30,000 CDs. Until we get you the iPod version of your palette, you need a way to figure out all those other colours that either didn’t fit into the swatch book for lack of space or would have looked too similar to other colours to tell apart.
Secondly, the Season concept is holistic. It’s all of you at the same time. Not the blues in this shirt on Tuesday and the reds in your lips on Saturday. All the colours in your swatch book are together for a reason. The Reason for the Season is You.
The reason is your DNA. Applying colour theory to the measurement of human colouring results in 65 connected colours, just as your blues and your reds are strongly united in you by genetic inheritance. What begins our genes and the pigments they code, carries through until we’re dressed and painted. As the visual manifestation of our DNA, we send out energy signals that others translate as beauty and harmony.
When you match a blouse to your swatch book, match the whole swatch book. That’s how we’re going to be looking at you in the shirt. Lay the open book on the shirt. Does one drain energy? Are they even? The matching article linked at the beginnning outlines the rest.
The lipstick below next to the swatch book. How does it feel? Because that’s exactly how it’s going to feel on the face that contains those colours.
Cosmetics, like clothes, should be matched to the entire palette. Our eyes can’t match single swatches to cosmetics accurately. Between any 2 or 3 Seasons, there may be colours that appear similar if viewed individually.
They’re not similar when comparing the entire Seasons. If I transplanted a peachy orange from a Bright Winter swatch book into a Light Spring book, where there are many peachy pinks, I guarantee you’d see it. It would be the only thing you’d see, in the Light Spring book and on the Light Spring face.
Matching makeup to the whole palette works for eyeliner, mascara, bronzer, anything. I think it’s easier than matching clothing. It’s not just me, student analysts pick it up very fast and can place any cosmetic colour within a single Season. In our last analyst training course, a student had swatched one of those “lipsticks that match every woman”. We found that it matched nobody.
Smear or draw a fairly thick application on white paper in about a 2×2 inch area. Use more than you’d ever apply to the face. If a colour is right, it will belong perfectly on the face.
Hold the swatch book alongside the makeup. Anchor the bottom page with one hand. With the other hand, flip through book slowly, opening it up enough that you can see all the swatches. Watch from the side.
Do the makeup and swatches have your attention equally?
Are you looking at one more? If yes, you will be IRL too.
Go even slower when you come to the most similar shades. Do they belong together? Are they truly beautiful, surprisingly so, even inspiring somehow, making you want to pause and look a little longer?
In analyst training situations, we are learning to place a colour in one Season so that analysts can recommend beautiful makeup to their clients. As always always always in colour analysis, you never cancel one till you have a Better-than. Once you think you have the best choice, be sure you’ve compared it to its neighbour Seasons. A colour analyst is always comparing. As Terry has said, “Compare everything to everything.”
The matching images in this article are all with Bright Winter. To make your decisions, you’d have to try Bright Spring for sure. And then you’d say, “Fine, but I don’t own a Bright Spring swatch book.” You don’t really have to unless you’re a colour analyst. If you’re a Bright Winter woman, you only have to decide if you would wear this lipstick, not who would wear it better. I do believe that owning the swatch books for one’s neighbour Seasons can be very valuable, just to have something to compare with.
Whether the identical colour is there or not is irrelevant, as it is with matching clothing, as it is with my drapes. That’s paying attention to the wrong thing. Back up. Bird’s eye view. Telescope not microscope. How does the whole thing look as one composition?
This is Cover Girl 415 Siren with a Bright Winter swatch book (original Sci/ART). Here’s my read of this colour for this type of natural colouring:
- Feels fine. This woman (the swatch book) could wear this colour nicely.
- The pigment purity is good. The lipstick doesn’t look faded or dingy on this face. The dots are not overwhelming the lipstick. Neither are the dots looking weaker, where the only thing we’d see is the lipstick on this face.
- The lipstick is a bit warmer (yellower) than the dots but that’s not necessarily bad. The type of heat is consistent with this palette. It’s pretty good with the center red dot. I like the blues with this lipstick. (The colours in these photos have been adjusted slightly.)
- I would like this lip colour with these colour elements in a print.
Rachel, a recent student whom you’ll meet formally very soon, noticed recently at this line of lipstick holds its colour and saturation when swatched extremely well. Many brands fade and become truly muted. Do they do that on a face? I’m not sure but I’d bet yes to some extent. Another thing to make note of when you swatch on paper, especially if you’re a high saturation Season, and especially a Bright where colour purity is paramount. Does the colour look the same in 3 hours as when you first drew it?
Notice the PinIt button in the lower photo. My new obsession. If anyone uses the button, please do LMK if it doesn’t work. I’m just figuring this out.
My excellent web support, Rick, is adding a detail showing latest Pins in the right sidebar.
If you have a look at the Seasons And Styles board, you can see items chosen for their colouring and receive direction from Rachel about which sculptures (Style Types) wear the designs most beautifully. Feel free to ask questions. You can be as impressed with how very smart and knowledgeable Rachel is as I am.
Not entitling this Dramatic Classic because I don’t want to imply that I have any expertise in body line assessment and the fashion choices therefrom. But I have opinions, oh boy. Since I’m a Dramatic Classic myself, I would like your help in adjusting what I could do better before I spend money.
Recently, we showed some softer wardrobe choices for True Winter, for those who don’t feel that making coats out of Dalmatians quite describes them. In the same post, we saw choices for Dark Autumns who identify better with mink than shearling.
We talked about synonyms. For example, in the Light Seasons, light could mean not dark, and also not heavy, not complicated, not aggressive, and good-humoured. Softness as it applies to True Winter and Dark Autumn would not imply more graying of colour, since that contradicts the colour attributes of those groups to some degree. We looked for synonyms for softness that found the intersection between the word soft and its other possible meanings – perhaps velvety, creamy, rounded, flowing, smooth, supple, decorated, satiny. Soft has many other renditions, in soft tastes, scents, touch, sounds and music, and shape, form, and texture. Today, we’re going to look at all those to find expressions of sharpness.
Dressing for Sex Appeal and Wealth
This is not the same as Dressing for Sex and Money.
What Is and Is Not Sex Appeal
What does sex appeal look like? Or what looks like sex appeal? I don’t have to have sex or even want sex. The point is about telling the world that you’re fully engaged in life. Sexuality is part of life as a grown-up. The thought of broadcasting sexuality never enters my mind and doesn’t have to. Sex appeal comes across just by looking like me and for every woman when she looks like her real self. When I wear who I am, I am saying, “I trust my gifts.” That’s the seduction.
Everyone woman is extremely beautiful. She doesn’t have any choice. The switch flips to ON when the X’s line up. Female energy was drafted that way in tandem with female anatomy. I’m the guy in the room who never laughs at stand-up comedy, talk show humour, Elf, or any other funny person, Robin Williams only sometimes. If you can get past all the fu** during the movie, The Heat, I had tears running down my face. There’s a point to this story, which I’ll get to here, many digressions I can feel coming on. Sandra Bullock has an athletic Natural body shape, to which has been added lots of drama of a swashbuckling type, rather than a Nature walk type.
With neither she nor we being conscious of it, we see what happens to our perception of her (played out hilariously but accurately by the characters and script) in different clothes. When the story needed her to be boring, the wardrobe folks knew just what to do. Put that body in a suit. It never manages to look right. She looks awkward, just how the story needs her to be.
As when wearing someone else’s colours, there is no wrong or bad or ugly. Every woman overflows with beauty, sex appeal, and femininity. But there are better choices for those to come across. Sandra, gorgeous woman and a gorgeous suit, combine to create no excitement whatsoever. Something gut-busting happens to the suit and whaddaya know, she starts looking great. Eventually, she appears in battle gear. Now we get why the movie is called The Heat. We feel relieved, relaxed, and suddenly very interested in her. She’s available to us in every way. In the suit, her presence, drawing power, and magnetism came in around negative 20. The army gear was closest to her brand of sensuality. Wearing it, she looked most feminine.
However your colours and body type were intended to seduce is irrelevant. It goes on autopilot when you stay true to them. Bubble gum and cherries perfume can be fantastic on some women, and be confusing at best on another who could have been so much more elevated, expressed, and attractive simply by changing to a casbah patchouli event. A forest makes no sense smelling like apple pie, right? Projecting authenticity comes across as sex appeal, as “I’m in the game. I know what looks good on me.”, “If you throw me the ball, I’ll know what to do with it.” Which extends to, “I am capable. You can trust me with responsibility, decisions, and money.”
Confusing sex appeal with media-sexy has women of all ages giving it away, forcing it away. That’s not sex appeal, it’s despair, but many women compare themselves to it. Trust me, the pushiness has nothing to do with attraction. It’s capitalizing on assets. Men are built to know the difference.
All I’m saying is you’re lovely as you are. You are enough as you are. I’m a little disappointed if you still wear orange when you’re a Soft Summer. It’s not peaceful. I’m very OK with you wearing it if you know it doesn’t look good but you love wearing it anyhow. That’s peaceful in a different way.
Many women, especially the 18 to 30 group, cannot tune out ridiculous sexualizing of women. I’m not saying to ignore it, that’s hardly realistic. We all know it’s there. We all know that 90% of advertising involving women’s bodies is drastically altered. A mediator might say it can be there, it can matter, and you’re still enough, and what we can do about it to help you find a better peace.
How I find peace:
1. Meditate. My favourite is from Deepak Chopra. Listen to it with earpods if you can, now that is a trip. In meditation, you’ll find optimism. Joined with the forces that create worlds, how can you ever be alone?
We’re programmed for action. It’s intoxicating to to have 20 new Likes and 30 new emails to answer and a new diet and a new resolution and to be doing all the time. Sitting still is not intoxicating by exhilaration, it’s intoxication by nurturing. Like eating spinach. Except, we are programmed for instant gratification. Not the week after you ate the spicach, let alone 20 days or 20 years later.
Our brain is always in fight or flight. It always sees things it thinks it has to protect us from. As Dr. Changizi explains so fantastically well in The Vision Revolution, our brain has evolved brilliant ways of keeping us safe. The larger problem is that in fight or flight, the brain is incapable of learning. It can be a stressor with a toxicity of its own. Neuroscience tells us that the sustained stress actually shrinks the hippocampus (cognitive function, adaptation, learning). Like an over-protective parent, we need to find some freedom to spread our wings. The brain thing is rooted so far in that we’ll not dig clear of it. The only way is by quieting it. With stillness, maturity, and accountabiltiy, we can see clarity.
2. Move. Bloodflow is an important pat of neuroplasticity. Brain, body, spirit, what happens to one happens to all. And it puts a better frame around your life.
3. Laugh at it. Fear-based illusions, such as comparing to media-women, can’t stand up to being laughed at. They can’t find the toe hold they need to anchor in. I meet women and we’re divided in two camps. Those where media got into their head and those where it doesn’t. Doesn’t matter where we live, what we do, our age. Is the difference how much we need/want/care about the company of men? I don’t know but if I can help one woman be free of the you-are-not-good-enough chatter in her head, I want to be there. Read Caitlin Moran’s How To Be A Woman.
4. Make a space for what’s wrong about sexualizing women’s bodies in the pursuit of money. An important friend shared this link (Pinterest, Don’t Compare Yourself) with me. I sent it to my daughters, son, nieces, nephews, sister women instantly. Girls, boys, and young women and men need to talk openly about it. There is nothing wrong with us. Not one single thing. We. Are. Perfect. I. Am. Perfect. You. Are. Perfect. They just convinced us there were things that needed fixing to sell us stuff, and damn but we bought into it like crazy. If everyone woman I see is perfect in herself, how can that not apply to me as well?
Why It’s Good to Look Like Wealth
Not …Look Like Money. Different thing.
What looks like wealth? Similar discussion. It doesn’t have to be expensive. Certain bodies automatically make certain lines look richer. Sandra’s body will make a banker’s suit look cheaper than it is. Looking like wealth is not related our bank account, money per se, or equating success with money. They’re only loosely related in my book. Not about where we shop or comparison to others. Those backfire by setting up too many more-than and less-than relationships that block the multiple and powerful ways in which outside influences can help us.
It’s about wealth as synonymous with maximal happiness, because isn’t that what wealth is? That, in turn, is synonymous with success. Maximum happiness (success) is maximum peace. A particular style on a certain body conveys abundance, which speaks to creation, fulfillment, sharing, and enough. The connection and belonging says, “These two things are extensions of each other. They share something real.” To us the viewers, it feels peaceful to look at.
Wearing the same jacket everyone else is wearing says, “I follow. I obey. I am willing to negotiate myself, instead of celebrating myself, to accommodate a magazine, a friend, a man, a job.” Or maybe it says, “I am imposing this effort on myself to get something.” That sets up struggle, and in turn resistance, and winds up pushing what we want even further away. Not peaceful to be or to look at.
Telling the world (and yourself) that you live an enriched, independent, expanding, self-directed life will happen by choosing a different jacket. In the black T and cargo pants, we felt Sandra tell us about being unconstrained, unbridled, and without inhibitions. That’s the truth of her particular energy. It isn’t the truth of mine. When we find our own, we all express autonomy, individuality, liberty. A free human. Now that’s a beautiful thing.
When body and line, or body and colour, are the same, they connect. There were meant to be together like silver and moonlight, like forest sounds and forest smells. We like it. We want to engage. Tension flows away. We want to stay longer and keep the good feelings coming. Colour Analysis, like Line Analysis, is the Theory of Relativity. When it feels good, time goes by faster. You’ve discovered your brand of wealth. You are closer to your peace.
The Season – Your Natural Colours
In 12 Season personal colour analysis, Soft Autumn is the Neutral Season (meaning a group of natural colouring that is a blend of a warm and a cool source Season) that is mostly Autumn with some influence from Summer’s colour properties.
Autumn overall implies golden heat, muted colour, and darkness. Summer’s colours suggest blued coolness, muted colour again, and a lighter colour selection. Since both are muted, their combined Season is very soft, softer than either Autumn or Summer’s already soft starting place. As opposed to the type of softness we were seeking in the Softer True Winter article linked above (where soft did not mean muting of colour), here, soft really does mean muting or graying of colour. With soft colour (muted) and Summer’s presence (soft as in traditional ideas of femininity) in Soft Autumn, how do we create a wardrobe for a person with sharper lines?
We can’t do sharpness of colour, since muted colour is a prerequisite of Soft Autumn. We can’t do sharp as darkness either. Soft Autumn colours are very soft, quite warm, and medium light to medium dark. It’s the lightest Autumn. You can easily read without turning on a lamp. Because it’s on the sunny side of Autumn, the colours feel bathed in late afternoon light. Not candlelight, that’s Dark Autumn magic.
We need some other expression of sharpness, the same one that the body itself expresses. That’s when our clothes make sense, when their lines and colours are the same as the body they go on.
Dramatic Classic is familiar to us recently as one of the 13 Image Identities in David Kibbes’ 1987 book, Metamorphosis. The terms have been used in other style contexts and seem to have a similar meaning.
There are bodyline experts with the skill to join any of the 12 Season palettes with each of the 10 to 12 body types. Watching them work is quite fascinating. Their results are transforming, startlingly so. My worldview is jolted forward every time I see it happen. I am not one of those body type experts. I’ll defer to their greater knowledge every time.
My Polyvores are not textbook perfect. Someone you hire as a line expert is expected to adhere to the highest potential of knowledge and practice, as I do in a personal colour consultation. Here, I’m doing an adaptation. Fashion that doesn’t work in my life doesn’t work period. It’s here to do me the favour, not the other way around. Sure, the shoes below should be more pointed in the toe, but my feet will hurt the day his do.
Classic always seems to me very medium. Nothing is extreme or irregular, in body size or facial features. The lines and angles are on the sharp side of medium, like Jacqueline Onassis, as opposed to a person whose lines and angles are on the rounder side of medium, like Grace Kelly.
As with the 12 Seasons of natural colouring, there are very few averages in the real world. To know for sure, you should ask someone who understands the entire scope of the subject. I’m a Classic but I’m told my eyes are big in my face, though C types usually have features that are pretty even. I guess my big teeth even out my big eyes, though my lips don’t. I’m shorter than usual for a DC but my body parts are evenly distributed.
My taste is conventional. When I wear unique or creative items, I get “?????” looks. When I think I’m stretching the limits, my kids tell me I look plain – because they can compare me to the full range of how people look. I can only compare me to me, which is one more reason why self-colour-analysis and self-line-analysis tends not to work.
An interesting question: Are women good at picking out clothing for their body lines? I don’t know. If it’s like colour, they run 50% in terms of how many people have a sense of their colouring and how many of their best colours they could choose. I had absolutely no sense of body line, like zero. I’d wear whatever I saw around me. Life and shopping are so much better now. How I’m treated and how I treat myself are so much better. Like colour, you don’t have to be perfect. Being halfway better improves appearance by three quarters. If you would like to learn from someone who really dose understand how to make the very best of body line, follow the wild papillon at Polyvore. You’ll find clothing choices explained and many collections of Seasons and styles, including a few different Soft Autumns.
Interesting that no Polyvore collection comes together any faster than any other, even the Soft Classic Summers. We may feel that all this knowledge will make shopping truly impossible, but that’s not what happens. With a little practice, we get better at seeing ourselves and knowing our stores.
The Meeting Place
Where’s the meeting place of Soft Autumn’s colour language and a sharp classic line?
Autumn does Business Chic incredibly well. The drama part escalates the picture to High Stakes Executive. Makes me think of the projection of Ivanka Trump. She is not medium enough to be a classic, has some fullness in her features, and who knows what Season she is, but her professional clothing style is close to DC at times. Maybe Julianne Moore could be DC. The whole Bulova type brands, you know? Lord&Taylor has all sorts of nice Ivanka wear for classics, sharp and soft.
What might be an issue?
Autumn texture. Texture is too broken up. Ivanka is sleek, tight, clean, and organized, not earthy and natural. I also doubt she’s an Autumn. Julianne has much more texture (freckles, hair) and she may have some Autumn, though I doubt it’s as much as is often suggested. I believe in wearing what you are, so Julianne would add a little texture (snakeskin or metallic, not fluffy or chunky wool).
Animal prints could go either way depending on the item.
A suede belt? Probably too natural for a Classic. A suede skirt? Not sure so I tried it, picking the least adorned one I could find.
Leather jacket (leather pants should be worn by nobody, but then I’m a Classic)? I think so.
Plastic, because it’s really smooth? I don’t see it as natural enough for any Autumn.
Be careful with hair highlights. They can look random, which translates to a little messy and uncontrolled on a very organized and controlled woman and her wardrobe. This is a nice colour, though many Soft Autumns are significantly darker of hair colour. The hair style and the person seem a bit natural, but it’s a good colour without looking obviously processed or busy.
We can associate Summer with flowy fabric. Not all of them. Don’t apply the Season stereotype to anyone, about any aspect of colour, line, or shape. Soft drape won’t stand up on this body, it risks looking limp. Limp doesn’t express sex appeal and wealth.
How else can we interpret flow? From thesaurus.com,
- continuity: as in gradual colour transitions, great on Soft Seasons
- series: so maybe a monochromatic outfit, which can look expensive because it’s not irregular
- connections: as repetitions, very good on sharpened classics.
Summer circles? The person is way way more classic than they are dramatic. If the shape is sleek and a little sharp, could be fine. Clean and organized work for sure.
10 Rules of Dramatic Classic According to Me
I’m a DC Dark Winter. What I think applies to most sharp-side classics is:
1. Smooth, especially around the face. If it’s not, we’ll push each other further in opposite directions as opposite things do.I’ll look flat and 2D while the item looks like a bathmat.
2. No mess, all organizers welcome. Even ruching is an issue but a little low down on the side is ok. Scarves are complicated but a simple one that lies flat and is arranged a little dramatically could be good on a Summer blend. I doubt traditional lace will work, she’ll drain energy like a dripping tap, but there is a version of everything for every body. I just haven’t seen lace for all the body types yet. You can build natural looks wtih lower budgets. This look is harder because there’s nowhere to hide. Goodness knows, I still try every day.
3. Little or no explicit decoration. No ruffles, peplums, bows, lace, fuss. Even prettiness can start looking frumpish on this body when you’re not paying attention. No open toe shoes but sandals ok, slingbacks excellent.
4. Not cute or young. Cap sleeves, borders, a hint of bunny ears, kitten heels, they just look silly, not cute or young.
5. Nothing weird. It’s a medium and symmetrical body. How wide could the tolerance for weird be? Where would weird find a home? No pink briefcases, patchwork raincoats. Your Natural teenage daughter might say your clothes are plain, old, and boring when she sees pictures of them, just like she’ll say the colours are dull if she’s a Winter (she won’t recognize them as plain or dull when they’re on your body, under your face).
6. I never know why I feel so negative for crew necks since they’re so classic. Boat necks are worse on me, I think. The neck has to slice up or slice down, and slice narrow, to keep the voltage high, which is what I really want in this life. A crewneck might be OK if there were a collar necklace and the rest of the top were great or had a superb dramatic print. Cowlneck could work well on this colouring but I’d need to be shown how . Asymmetry or sharp pleats on one shoulder could make a crewneck better.
7. A certain amount of busy-ness in a print is fine but there’s limits. Damn straight I’m a good DC with helmet hair to prove it. Same with a purse, which should have plenty of organizers inside. If they’re on the outside, all those zippers and snaps look busy and messy and feel annoying and complicated.
8. About stripes: diagonal and vertical good, horizontal trickier, ok if thin and regular.
9. For purses: nothing squishy, fairly square, and not real big or real small. Picture the purse version of a banker suit. Now, we’re in low gear, giving it gas, and we’re towing.
10. No visible logos even if it says Armani, which is a super good DC brand and seldom (ever?) has visible logos. Hugo Boss is right up there too (Bloomingdales has some great items).
What I Don’t Know About Sharp Classic Autumn
1. Length of jackets. I think it’s tight as a cropped style at the waist or long just after the break of the hip but not further. This may depend on height. I’m not tall (5’4″).
2. Plaid is usually good on Autumn but I can’t quite imagine what it looks like for Summer + Classic + sharp.
3. Pearls on a Summer blend could be fine. This whole topic interests me a lot, how much the different Seasons actually could express the style stereotypes inside the style types, like their own dialects.
For instance, those equestrian boots in 6 – equestrian anything is automatic wealth of a classic sort. Ski anything is wealth of a dramatic and natural sort.
The link bracelets in 3 and 5. Links are good on Autumn. They can run a little biker on me. I know a DC Bright Winter, they’d be even more biker on her.
Natural elements are good on Autumn – the leaf necklace in 4. I don’t see it on Winters. This is almost astonishing to me. Like seeing it all in a new way. Paraphrasing from The Polar Express, “It doesn’t matter where the train is going. What matters is whether you decide to get on.” I’m on all the way to wherever the Destination is. I hope to see you there.
Is a sharp classic from the Summer colouring groups less sharp than a Winter? Kate Middleton seems to me a sharpish classic. Wearing those styles is when she looks great. I don’t see Diana’s big outward natural energy. Diana always looks big in photos, even thumbnails. Kate looks smaller despite her height, and more contained. I did wonder about a Natural energy but she has so much symmetry.
Symmetry feels formal, I would guess, which is where the Winter stereotype of “formal, ceremonial” must have come from since so many Winters have symmetric features. Most certainly, not all Winters have them. Asymmetry feels informal, which feels livelier (warmer?) and works so well on many Springs. Many Springs have that cheerleader/BFF feeling of Natural body types, but there are plenty of Classic, Romantic, and Gamine Springs. Anyhow, everyone will have a worthy opinion about Kate. Kate is softer than Mrs. Onassis, the image of DC. She wears that hairstyle well. Is it just because she’s young? Michelle Pfeiffer is quite sharp and she’d be a Summer. I really wonder how much Season would influence line within a given body type.
I would also like to know if women have different degrees or tolerances within a group, as they have with colour. Inside our 12 Seasons, we find our best individual expression. Body type must be the same, since we can’t divide all humanity in 10-13 groups within which the advice will apply to each person equally. Every woman expresses her Season her own way, even with the same body type. Like the 12 Seasons, it’s not so much a rigid gospel as a way of bringing some kind of measurable, teachable, reproducible objectivity to our native lines.
Body type analysis is a guide for my Light Summer Soft Natural sister to not default back to her True Autumn Gamine styles, for which we are all grateful. My Dark Autumn Gamine friend finds affirmation and confidence to wear her knit red dress with yellow footprints (I’m not making this up) in her small farm town. Suddenly people see, expect, and love her snapping wit, instead of expecting a TV Mom when she wears more conventional outfits and taking offence at a style of humour that was so big, it took them by surprise.
Back to the clothes, some of these outfits would work for Kate and some may be too masculine. She needs more decoration. Again, is it because she’s young? Softer in the range of DCs? Not Classic at all? Because we’re used to seeing her items that cost 10 times the amounts that I controlled above?
4. How much asymmetry? Not a lot but some is fine. To me, the softer Classic is much more symmetric than this one. I really like the neck and flat pleats of the pinkish dress in 4.
5. How much flare? Bootcut is ok if you can’t find straight leg. The coat up there in 6 is good in the top and in that it flares but doesn’t flounce in the skirt. Worn by a classic body, would it look like two styles fused into one garment? Not sure. Maybe better for a softer classic.
6. If you find black soles on boots – you gotta know when to fold ‘em. Soft Autumn has pretty good darkness and the contrast from boot to sole may increase the overall sharpness.
7. Gray is great on Summers and Autumns, and good at becoming what’s around it. I put in that jacket in the lower L of 6 because the style is good. The gray is too sharp though, better for Dark Autumn or Dark Winter. The color necklace is too soft, too colourful, and too irregular is my guess. It doesn’t belong. I was trying to use colours to take attention away from an imperfect gray. I don’t think this outfit would really work on a Soft Autumn but I wanted to try it. So many good things about Polyvore, the ultimate in comparison shopping and no-limit outfit trial runs.
8. Set 6 is where I experimented. The top R group is probably Soft Summer but I’d try it in a store. A cool Soft Autumn might wear the colours. Is the dress too irregular? IDK but I’d try it for that too; it’s smooth around the face.
How much saturation could Soft Autumn wear? That aqua dress just to the R of the numeral 6, I’d certainly lay the palette on it and see what happens.
The crystal pleat coppery skirt? Again, IDK if it would be wrong on DC, but I like it a lot. A line expert could probably tell you how to wear it.
What watches? There’s a lot of watches? The batteries ran out long ago. Don’t replace them, save money and buy perfume.
To draw your attention to a new addition to this website:
If you look in the upper, black crossbar under the website name at the top of this or any page, you’ll see a new Directory.
The Sci\ART Analyst Directory is still there.
The new 12B (for 12 Blueprints) Analyst Directory will be a compilation of Personal Colour Analysts that have been trained in the 12-Tone Sci\ART system. You’ll find links to their website where you can contact them and get information about their services.
Every analyst uses the Test Drape collection created by Terry Wildfong and I, unless Â noted otherwise.
Which swatch books and cosmetics they prefer and anything over-and-above that they provide are questions to be asked to the analysts themselves.
They’re almost ready. Finding a wide variety of stunning colours for the Â three Winters that are not all Prom Satin and Wedding Whites in May and June is not so straightforward. I anticipate the end of August when they become available to purchase.
I want to talk today about the purpose of these Luxury Drapes, how they serve your client and your business as a 12-Tone or 12-Season personal colour analyst. They build value for your client, plain and simple, where most of the decision-making should be based. Your service can offer more, the client receives more, your credibility climbs, and your business name earns its reputation for fantastic payoff for the fee.
Before we get on to their purpose, we could talk about what they are.
Before that, we should clarify what the Test Drapes are and their purpose.
Â The Test Drapes
The Test Drapes are fabrics in colours that are organized into groups. You can call the groups Seasons or Tones or Natural Colouring Type. Each group shares the same or similar dimensions of colour (light-dark range (value), heat setting (hue), degree of pigment concentration (chroma or saturation)). The groups walk us through 12 combinations and controlled levels of the colour properties,Â moving along through a logic tree, comparing a human being’s colouring to themselves, until the best harmony is found. The tag on those Best Harmony Drapes is the client’s group or Season.
The Test Drapes (those I provide to my students and Terry Wildfong’s) are not intended to be a client’s best colours. There are no catch-your-breath WOW OMG colours in the Test Drapes. If there are some, it wasn’t planned, but OMG does happen because synchronous wavelength feels good to be around. We live on a planet of wave energy. We emit it ourselves. Seeing it feels almost like remembering or reconnecting. It’s a form of recognition, as “Oh, so this is how this is going to happen.”, like when a door opens and something you’ve been trying to figure out is suddenly easy and obvious.
People write to me saying they’d love to be trained as colour analysts because they’ve loved colour so much for so long, but they doubt their ability to see the optical effects I write about. Seeing it takes a little practice to learn what you’re looking for, that’s true. Seeing it isn’t the hard part at all. Everyone sees it. That’s the point. That’s why it’s so important to have it done and know your own colouring. The family members watching see it plain as day right from the start.
More requiring is coordinating how to think with what you see. Learning to plug the data that your right brain (images, impressions, emotions, associations, big picture observations) and left brain (measurements) are collecting as you watch the drapes change on the client
into an impartial deductive process that doesn’t overreach, get overly excited too soon, jump to nervous conclusions, or let in thoughts that begin with “It can’t be…” – I will let newly Â trained analysts speak for themselves but I would guess this is the harder part.
The Test Drapes are a ruler. A measuring tape. Instead of measuring bust, waist, hips, they’re quantifying hue, value, chroma. It’s hard to do by looking. Our visual system starts overlapping incoming signals. Warm colours often look more saturated than they are, like True Autumn. We can’t look at a blonde-haired blue-eyed person and see that their most significant colour dimension is highest saturation and know that they’re Bright Winter. If we just look, my belief, we literally can not know, as in not capable of knowing, because our eyes are not biologically set up that way. We have to measure.
Client can feel a little discouraged when they watch the Test Drapes, “You mean to tell me that these are the colours I have to wear????”
It’s natural and normal for the client to see the Test Drapes as potential clothing. They could be, but that’s not the point of them or how they were picked. It’s not the client’s job to understand their purpose. It’s the analyst’s job. We can reassure her that she doesnâ€™t have to wear these colours and yet, with every drape change, she’ll say, “I would never wear this colour!”Â The analyst has to keep saying, “You don’t have to. Youâ€™re not supposed to. They’re measuring you.â€ and be just as patient and happy about it as Beyonce when she climbs onto a stage to sing that same song for the 399th time.
The client’s response has some value, but not a lot. Half the people out there are drawn to colours that suit them and half are not. The analyst has to make independent decisions. Asking the client, “Is there a colour you’d never wear?” tells me more about how permissive Â she is about colours, how defensive, how open to change, or how adamant about not changing. It does not inform me as the analyst about what colours live in her body. Most folks carry too much convoluted colour history to know which colours do or don’t suit them, much less live in them, and they tend to lump them together. “I can’t wear green.” applies to nobody. Many Light Summers won’t wear yellow – yet, they’re made for the right yellow. It’s in them already.
If Â Terry and I picked middle-of-the-Season colours for the Test Drapes, you’ll need to be some Hot, Sharp, and Well-Rested colour analyst to make the right choice. New graduates won’t thank me. I wouldnâ€™t thank me. If I met me at a party, I would give me the cold shoulder for making my job so much harder. Â The colours have to be extremes. They should be a very awkward fit for every colouring but one.
The Test Drapes are chosen to be colours no other type of natural colouring, or Season, could wear as well or at all.
Now if it’s splendid colours you’re wanting, I have an answer for you.
Â The Luxury Drapes
The Luxury drapes are shown to the client once the Season is known and the Test Drapes are hung up. I show them before makeup with the gray scarf still over the hair, since that’s how our eyes learned her colouring, and again after makeup. She sees a selection of her beautiful colours in textile. It helps her make the leap from the swatch book to fabric. This is how she will understand her position within the 3 dimensions of colour in the physical world, how the idea will move from theoretical concepts inside her head to an idea come to life on the stage of her life.
A colour analysis is a huge experience squeezed into 3 hours. The client is taken way back to the most authentic trueness of herself. All the junk and inventions that have piled up over the years get flipped away. The Luxury Drapes are the first step in building her back up again, letting in only what’s real and right about her so she can recognize it forever more.
Sci\ART, the company whose founder, Kathryn Kalisz, developed this most remarkable system, Â used to sell sets of 8 and 15. I only have the 15s. IDK if the 8s were the same Â fabrics or not. I am aiming for 12. They’ll only be sold as 12 sets of 12. I would love to find enough colours to offer 15, but it may be a case of, “You can have them right or you can have them now, but you can’t have them right now.” If I hold out for 15, it will be next year before I can offer them. If sets gets larger in the future, we’ll figure it out with those who bought early. Offering smaller start-up sets isn’t likely to happen. I’d have to keep track of which colours everyone bought in Round 1. I might have all different fabrics once you’re ready to buy Round 2. Or worse, some fabrics may be too close to what you bought in Round 1. Save up. Do it once. Do it right. Don’t look back.
As with the Test Drapes, the Lux Drapes will be available only within the Sci\ART community, with priority given to those who have taken the training course from Terry or me.
Use the Luxury drapes as a means of developing her understanding of how to wear her colours. We can talk about saturation levels till the cows are home, milked, and fed. When she positions her limits is when she sees and feels them, not when she thinks and hears them. Colour is visual.
Seeing her colours as selected by an analyst helps her understand them. They can be compared to neighbour Seasons. Don’t show her Bright Winter periwinkle without showing Bright Spring’s alongside it, even just in the swatch books. Without visual comparison, our brain is stranded.
The Lux Drapes are her gateway to a world of possibility limited only by her creativity. She steps into a pleasure of harmony between her and everything she wears that she has not felt before. When the client leaves your office, it will be from your script as she met the Lux Drapes that she should be able to say a few words to a friend about these aspects of the new wardrobe that she will build and shape in time,
. her darkness range – is she white to black, chalk to pewter, or some other?
. her lightest colours as distance from white
. importance of contrast for her colouring and how to adapt it in attire
. purity of pigment, or saturation, and how to recognize it
.Â the unique radiance or glow that her Tone can achieve more beautifully and believably than any other
.Â use of correct hair and eye colour, explaining why hair colour is not always in our palettes or drapes
.Â her right and real hair highlight
.Â eyeshadows and neutral colours
.Â use of texture and how it influences the dimensions of her colours
.Â most flattering type of shine in fabric and metal
.Â colours of metals that flatter her most
.Â her best version of white and black
.Â what it means to say warm and cool versions of her colours if she’s a Neutral Season
.Â her best red lipstick red
.Â the complementary colours to skin undertone colour
.Â the unusual, unexpected colours
.Â how she will add interest, risk, fun, authority, or imagination to outfits… and look smarter, more trustworthy, and worth more $$
.Â how to begin incorporating the colours she finds more challenging
.Â colour schemes and combinations that work with her and for her
.Â a visual for colours that are not used to test, such as purple
.Â the fact that she has many colours that are not among her swatches, and how to achieve harmonic agreement in shopping situations
.Â that we really mean it when we say every colour goes with every other colour and she doesn’t need to own different makeup for different outfits anymore
.Â what to never put down money for again
. feelings of nervousness about exploring a new world she didn’t know existed, of colours that felt challenging, of some work ahead to make this place into a new home, and feeling that she has the tools she needs, will get better with time, and seeing the road ahead going forward and up
. how empowered she feels in this Â moment by all the knowledge you gave her, by knowing the colours of her parachute
Analysts would probably agree that many clients ‘get it’ for the first time when they see the Lux Drapes, or get how they’re going to do it.
The Luxury Drapes can assist in confirming Season. SomeÂ people’s colouring sits on the 49/51 border between two Seasons. Â Look for the magic. It will only be in one Season. Compare similar colours from each possible Season that the other would not wear as well, a blue to a blue or a red to a red, choosing the extreme versions. Every single Luxury colour has been harmonized to that Tone using the original Sci\ART palettes and the excellent palettes from True Colour Australia. For the client who hasn’t been convinced with the Test Drapes, the Luxury Drapes provide another means of increasing their confidence in their Season.
You can arrive at the correct Tone using the Test Drapes, of which you have 3 more per 12-Test Season than my original Sci\ART sets. You can be in business for a year or two before buying Luxury Drapes, or you may never acquire them. They are the next level investment.
Luxury Drapes are not the place to cheap out.Â I didn’t skimp on fabric. If it was evocative to me of that Season’s unique and unparalleled beauty, I bought it.Â This is the analyst’s chance to shine, to be irreplaceable, indispensable, to tell her things nobody ever has, based on all the scientific testing you just completed. This is where you pull it together for your client. They’re your client’s first chance to see and feel how her colour home will recognize, welcome, accept, and support her. As partners, join her in the first leap from the theory of the Test Drapes and Colour Book swatches to the reality of how they translate into clothing, cosmetics, hair colour…every thing she will buy from now on.
As the analyst, they are your best chance to change her relationship with an idea using something she understands. She doesn’t understand the hue/value/chroma package well enough to really use it in stores. That’s analyst jargon. Of course, it’s important to present it as the scientific basis for the process, but she won’t retain much from a crash course in colour theory, let alone call on it to guide her hair colourist. We need to speak to her in her language, not ours. Understanding how the pancreas secretes insulin is not going to help her manage her diabetes. That’s the doctor’s job. Knowing how to choose her diet and adjust her insulin dose, those she can implement tomorrow to make her life better. Seeing how her colours translate into fabric is what she’ll apply in stores at least as well as her chroma level.
The Lux Drapes are the wave up to which the whole colour analysis experience is building. Let them wash over her. Go slow. Let her soak them up. Use them as the fantastic teaching tool they are. Use them to position your business as a part of her life she can no longer shop without.
A few articles back, I mentioned how a True Winter impressed me so much by focusing what matters to her life into one word: fairness. I thought a lot about it and decided my word would be excellence. After a week, I didn’t feel I’d hit the target yet. Reflection, thinking, and asking found a more sincere and enduring word that holds everything I am and want to be: learn.
If things started out perfect, life would be monolithically boring, like a world without competition, flat, repetitious. That is seeing What Is while thinking What Is. Now, seeing what is and at the same time thinking how it could be more is the brain region that took 4 billion years to evolve. It’s what makes humans different.
When LEARN gets plugged into DREAM, possibility has no limits. We’d never have gotten the iPhone 2, 3, 4, 4S, 5, and 6. Starting out perfect is a tedium that makes my blood run cold. It goes so against something very fundamental about why I think humans are here. There’s nothing I do today, my doctor, my clothing designer, or my colour analyst, that I hope isn’t better tomorrow. Some folks might slot these ideas somewhere between irritating and corrupting and they’re not wrong and I’m not right. We just aren’t meant to be together.
Innovation and improvement are brainstorms come to life so we can touch them. The first time I saw a projection keyboard jump out of a phone, I was blown away.
Sorry, that was a tangent but I couldnâ€™t get stopped. It’s way up there in Topics I Care About. Kerry may be reading this thinking, “Will you please shut up about the meaning of life thing? You’re distracting the readers!”
Right, Kerry, you’re right. Back on topic. But listen, big congratulations for what you’ve done with your swatch books. Thank you for sharing your own growth as a colour analyst to teach us more. I hope to do the same over the years.
The Indigo Tones swatch plume palettes have been esthetically beautiful right from the start. How beautiful is actually quite surprising once you really see them. I wrote about them once before, here. Not only are they lovely to own, they are a highly diversified way of teaching us about our natural colouring. In my dictionary, natural colouring, Season, and Tone are synonyms for personal paintbox, my very own colour wheel, and the pigments that filled in the lines of me. (Don’t hold anyone else to my dictionary, OK?)
The colours are extremely Season-accurate. Each swatch is quite large. This was true in the previous Books.
For those of who see today and the status quo as nothing more or less than a starting point, the new palettes are outstanding. This is definitely not a lukewarm upgrade. All of them are more dense and rich in colour, some (on mine, purples and darks) more than others (where the higher colour intensity is less distinct). The production technology appears to have improved, but that may be just an impression from having more pure colour.
The more time I spend matching fabrics and cosmetics to Season, the more I’m realizing that matching a single swatch to a garment doesn’t work very well. A colour analyst may be able to do it faster with practice because she knows all 12 Seasons equally and is versatile with hue, value, and chroma, but I still shop with my swatch book and compare every purchase I care about. We all have human sight. We can’t tell if we can’t compare. We can’t judge one dimension, say, chroma, when another is extreme. Hard to call the real saturation of something that has low value (darkness), which is why so many Soft Summers get told they contain Winter – because by just looking, we can’t tell they’re dark and muted, not dark and intensely pigmented. Dark colours tend to seem more saturated even if they’re not. The only way to know is to compare their colouring to a known quantity like the drapes.
Personal Colour Analysis has to work for the Person part. You. Your colour-matching success is more likely by backing up a few steps and matching the entire swatch collection to the garment. The idea is detailed more in this article.
I don’t believe we can own too many Colour Books of swatches. The more slants, the more translations, the more tools we have to get our thinking right, the deeper our possession of it. I once talked about owning 2 Books from different companies. Today, I believe that if you could find 8 accurate ones, you should own all 8. Not a single colour would have to be repeated. Every colour system, every colour format, every new interpretation adds something. The less narrow the concept in our head, the more layered, accurate, and interesting the outcome.
You have many thousands of colours. Since you don’t want to carry a wallpaper catalog around when you shop, decisions have to taken about which colours to include. This is like an expansion set. About half of them are new colours, different enough from the original to be two separate colours. Â Those Dark Winter greens that so many clients are finding and enjoying are a great addition.
The balance for the creator is how to give women a wardrobe and a sense of their Season’s colours. If new colours are coming in, old ones have to be replaced. I have both Books because I didn’t want to lose any blues but I love all the extra reds. Some people hide in black. I hide in red.
Right now, I’m learning to recognize the lightest colours in the 3 Winter palettes. They’re complicated. I have a theoretical knowledge of them but finding them in fabric has been hit-and-miss. This rendition of those colours shows them to me in a different way that I can imagine better in clothing. I can picture it more easily hanging on a rack or a bolt of fabric.
The Dark Winter book was changed more significantly than some of the other books in terms of colors. Â While those more autumnish colors are part of the dark winter harmony I felt that they didn’t reflect the overall season best and searched for other threads that did. Â On every book I added some new threads but my main goal was really to reflect the essence of the season in a harmonious layout while providing the most variety in colors possible. So, it’s not going to be true that there are so many more colors in most cases – it’s a different and hopefully better representation of the seasonal tone harmony.
Thank you to Kerry Stich of Indigo Tones for these photographs and the permission to use them.
I will let Kerry talk to you about your own Season’s Book and other questions you may have. You can find her at www.indigotones.com
For someone who knows her colours, this is a gift she would simply adore. Adore and use. What more do we want from a gift?
The term Soft Dramatic (SD) is one of 13 Image Identities from David Kibbe’s extraordinary book from 1987, Metamorphosis. If you can find yourself, it can be an astounding key to your best clothing line. Â I am so NOT a Kibbe expert. I’m certain that if he looked at my Polyvores, he’d think, “This isn’t what I meant at all.” Reader beware.
This question from J:
I’d like to add femininity to casual wear but sometimes I don’t know how. Mrs. Tuttle (of dressingyourtruth.com) has helped with that a little, so I know now that I like silver teardrop earrings, lace, cowl necks, and ruffled scarfs. How to add glamour into your everyday life/work? I used to want to appear as strong as possible. Now I have softened it down a bit, and, big surprise, no one ate me.
I think I have the most difficulties separating the True Summer from the Soft Summer in the range of beiges/taupes/browns and the range of corals/reds. Kind of the colors that we see as “warm” per se. Maybe also some of the greens, that are not actually blue greens, but more along the “grassier” or khaki side. The more unusual Summer colors, I guess.
By the time we’re working with neighbour Seasons in 12 Season colour analysis, and from the same parent Season, like True Summer and Soft Summer, finding words to help you distinguish them is not possible, at least not for me. They’re just too close if you look at them one swatch at a time. Trying to find your colours that way may be part of why PCA fizzled 40 years ago.Â Going back and forth and back and forth and back and forth from one colour dot in a swatch book to a piece of fabric Â will only make you irritable and the store staff even more so.
My best advice is to learn to look at your entire palette when you try to match a garment to it. Have a read of the article Getting More From Your 12 Tone Swatch Book.Â This is a total woman, head to toe, all the colours together all the time, big picture situation.
If you’re a precision person, as Summers often are, you’ll want to own both True and Soft Summer swatch books. Compare them both to a garment by laying them flat and fanned out on it. You’ll see which is best. Sometimes, it’s very hard, in which case, it just doesn’t matter enough for clothing. For drapes, that would be a fabric I’d never use. How can you test with it if both work? When you look at only one, one anything, your visual system is stuck. It’s like asking someone if this colour looks good on you. They’ll say Yes. What they should say is, “Compared to what? Show me two and I’ll LYK which one is best.” That’s how our biology is configured to get information from vision.
You’ll want to own Colour Books from different companies. The more ways you see and read about your colours, the more sense they will make and the more recognizable they’ll become. You’re looking to replicate a feeling, not a particular colour.
Also, to my eye, color not only flows from cool to warm but also from one color to the other. So, sometimes, I just don’t know, if, what I look at is a grey with a lot of purple in it or maybe a very greyed down purple?
We’re not comparing apples to apples in that question. Colour always flows from cool to warm. It’s built into the physics of how light strikes objects. It can’t be altered or argued. In the 12 Season sequence, the heat setting of one palette shifts to a warmer or cooler setting as you move along to the next Season.Â If the two purples you describe belong to True and Soft Summer, one will be warmer. If you paint them as two dots and let them run together, then the colours will indeed flow into one another, but the two ends and any given colour between them will only belong in one Tone’s palette, the one whose colour dimensions (heat, value, chroma) match those of the colour.
I get the feeling of coolness and freshness that you described. What I don’t understand here is the softness. Soft as opposed to True Winter, yes. But then, when I’m in a store, all those colors mixed up, that is not the feeling I get.
Regarding the image above, understanding ‘softness’ in your question to mean low saturation rather than draping fabric, and choosing apparel line and styles randomly just to demonstrate some colours:
Summer colours are on the left. They feel watery, misty, calm. Not heavy. Far from white. A little heathered.
Winter colours, on the right, feel more aggressive and intense. Â They have more green. More colour. They’re further from gray. It’s hard to tell though, because as colour darkens, or as one colour dimensions changes in any way, we find it tougher to judge the other two colour dimensions. The top one seems too close to white for a Summer and I don’t pick up heathering.
Neither one is at minimum or maximum saturation, because True Summer and True Winter are not. What matters most is that they’re cool. Even that’s hard to tell. Winter’s green can look warm, I suppose because the blue and yellow that made it came from Winter’s paintbox, where the yellow is intense.
What about the center column? I wouldn’t know if those are Winter or Summer any better than you would just by looking at them.Â I’d have to lay the palette on the garment and see if the two were equal or if one loses energy. You’ll see this happen. The Summer palette will dull if the fabric is Winter. The swatches will be much too strong and bold if the colour is Summer. You’ll be able to feel which one is at home for most fabrics. If you can’t, it would probably be fine. You might need to own the Winter Book. The more precise you want to be, the more precision tools you’ll need to acquire. True for carpenters, musicians, and colour matchers. Not a big thing. Probably costs less than two blouses. You won’t learn this by owning one Book. You’ll get it as soon as you own both.
Clothes in photographs are just like people in photographs. A little off. You can take a hundred pictures of the same person, same time, same place. They look different in each one. Can’t tell what’s true. In real time, our brain can adjust for that, like it does all the time with all the white we think we see that would not be pure white, were an artist to paint it. For survival, our brain has adapted to learn when to get visual information that means white, even if the colour isn’t white. We see many photos of women trying on clothes. When have you ever met anyone and had them look just like you expected? Never. If Mr Kibbe writes another book, I hope he puts in lots of group photos.
I do get a feeling of elegance. The same cheap sweater, that looked so funky and trendy in Autumn’s beige, managed to look somehow more expensive in the blue-grey. Seems elegant and calm to me and… nothing! There’s nothing added, no warmth, no “pop”. It just stays as it is. I used to judge that as boring and without personality. Now I’m open to see if one day it will show me that there actually is something. Maybe I just can’t see it yet.Â I wonder if what I’m asking for is a comparison of the visuals for the three Summers.
True Summer, like True Winter, isn’t an overly colour busy Season. In the Winter’s case, it’s because every colour is so much that one at a time is plenty. In the Summer case, there’s a tranquility, with none of the agitation that accompanies heat, whether smoke (Autumn) or sun (Spring). The softness of the colours means that they weave together more fluently than Winter. Even a hint of hectic or functional takes the feeling off track. Also no giggles, no sarcasm, no squirting (Spring), and no forcing, no pushing, no controlling (Winter). All is perfect andÂ all will be perfect. Not rugged, earthy, productive, or work-related (Autumn), no showboat, glitter, or anything synthetic (Bright).
A visual for True Summer: the Japanese Zen garden.
Peaceful, green, strong, by no means self-effacing, monochromatic, courteous, the penultimate of diplomacy and respect, meditative, reflective, cool but not dark, searching.
Soft Summer’s visual is heavier, more solid and substantial, a rock garden, a woodland. Light Summer’s has movement and lightness, a fountain.
Maybe also some jewelry advice. I do fine with the T2 lines for that, just not as huge as they present everything. But I find it very interesting, that they are all about teardrops and elongated s-curves, all very looong, while you mention the circle as the True Summer shape.
That circle shape came from my imagination. It is not a fact, it’s a blend of what I’ve read, seen, and thought about. There’s no more truth in it than if you said, “I think Summer’s shape is a pentagon.” There are no facts here and only a little logic. The left brain isn’t the one doing this. We’re not measuring anything. I could see spirals too for the true cool Seasons, though more in Winter since they begin and end in the deep center, which has True Winter written all over it. The trailing vine is definitely a good Summer shape. For many, their hair follows this line. Every Season could have many shapes. So could every body type. Some see triangles for Winter. I don’t feel it but I can see why they do. Spring is more triangly to me, though more the zigzag than the closed shape.
Jewelry shape and line is decided by body type. Its colour comes from your own natural colouring, your Season or Tone. A Dramatic Classic True Summer won’t look as good as she could wearing long necklaces or pearls. You’ll barely even see that jewelry on her. The hugeness of T2 jewelry at DYT could be really good fit for SD bodies (note that I have not looked at it).
I’d just love to see your perspective on Soft Dramatic True Summer. How does this combination of colors and lines and whatever else there is look to you?
It won’t match the Type 2 of Carol’s system. In each of those 4 types are way too many kinds of bodies.Â There is swirl, flow, and drape in Soft Dramatic but the scale is much bigger than what T2 says to me. This body is not mainstream and her presence isn’t safe.
I know this woman from my life. Â She is indeed a True Summer. She’s 5’9″, sleeps till noon, reads all day, is far more busty than hourglass. In fact, I have no idea what her body looks like below her bust. Couldn’t tell you if she’s curvy or not, no idea what her legs look like. I do know that she’s a knockout.
She cooks like Julia Child, drinks like a sailor, wears a splashy sarong skirts and big chunk diamonds in her ears to have her backyard bulldozed, and looks ridiculously like a plump and top-heavy Linda Evangelista. The sarong and diamond look is the only time I notice what she has on. She also favours mid-thigh tunic tops and straight Capris, which look pretty good as long as the print is a big, boozy Georgia O’Keefe vision.
Her right location is in a chaise longue beside a Vegas pool with a turban on her head, cigarette holder in hand, G&T on the go, watching the 18 year old pool boy at work. The picture absolutely needs up-there jewelry, exactly what Kibbe describes. Smooth, big, and $$$-looking. Andre, the masseur, is arriving later this afternoon.
These are casual clothes. It’s easy to fit this body in gowns and gigantic jewelry. What’s it look like at the parent-teacher interview?
Like colour, the whole point is to bring together the person and the clothing lines that bring out the absolute best in each other. Finding the style in any palette would be tough because it’s just so exaggerated. The women who would look great in it have no idea who they are, not unlike fuchsia blush. For the general population, the image seems meant for the stage, not the office. Get Noticed clothes are scary when the crowd all looks identical.
She has much less texture and more opulence than a Flamboyant Natural. She won’t wear wedges, the FN could. Same big frame, big hands. A movie star who comes into her own on the big screen, loses something on a TV, and looks almost ordinary on a smartphone. AÂ cocktail ring babe. Sunglasses and wide brim hats, earrings, necklace, rings, scarves. Drama, glamour. She can make the dainty, delicate, and simple disappear, not in the good way, like blue on Summer, which is so much part of them that it’s almost invisible, like their ultimate neutral, their perfect equal. Here, little stuff gets chewed up like it isn’t even there, the ultimate unequal.
Like all Summers, contrast outside her colour palette can disappear her. Stay inside your lightest to darkest range if possible, whoever you are.
The only way to get your clothes look like yours is to wear your own line. That’s when you look normal and fabulous, as opposed to normal. Your clothes look like ‘just clothes but wow clothes’, like Bright Winter blue sapphire satin looks like ‘just blue but wow blue’ only on that one type of natural colouring. These clothes are lusciously large scale. In this picture of Sophia Loren, it doesn’t seem as if she and her clothing bring out the best in each other. Nor this image. She’s Â not who we know her to be. The colours and lines next to her look as if she feels some way that she doesn’t at all. There’s no point telling the world that.
The True Summer colour analyzed palette is the opposite of exaggerated. I can see that it might be careful looking on this woman. Accessories and big shapes pull the whole thing in the right direction.
Discovered I could search ‘drape’ on Polyvore. That moved things along.
True Summer looks better in their greens and teals than their blues. Blue is too equal to their native wavelength. They’re like a blue aura inside a blue force field. Such a good fit that you can’t tease them apart. All their blue-greens are unbelievably enhancing. Like if you can find the right red lollipop red, it’s more incredible on True Spring than their yellow, maybe even more stunning than their nectarines just by the power of red.
For an Soft Dramatic, no casual outfit will ever be casual by other body types’ standards. The clothes look normal in a Vogue shoot, not a Food Court. This is not a Natural body. Turtlenecks, hoodies, shirts, the clothes much of the industry provides are not the ones that best flatter her. How to do casual? Would wear kitten heels when the men arrive to replace the front porch, but not high heels. Will not wear shoulder pads to the Farmer’s Market. Will wear flip-flops when hosting the Fun Day BBQ for the summer cottagers and their kids. Is going to wear jeans, fleece, and flats just because they feel good.