Growing Into Bright Winter

December 6, 2013 by · 35 Comments 

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

 

Photo: Krappweis

Photo: Krappweis

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Photo: lemunade

Photo: lemunade

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

 

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

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

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

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

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

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

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

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

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

In a TEST situation, you’re either or.

However.

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

Photo: Cherokee14

Photo: Cherokee14

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

 

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

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

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

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

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

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

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

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

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

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

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

 

Photo: De_Lima

Photo: De_Lima

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

 

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

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

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

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

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

 

BrightWinter 1b

 

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

 

Bright Winter 2

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

 

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

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

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

  1. colours
  2. lines
  3. textures

 

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

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

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

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

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

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

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

 

Photo: winterdove

Photo: winterdove

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

 

To the previous article, Susan asked:

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

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

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

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

That’s what the colours do to us.

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

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

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

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

 

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

 

True Summer Visuals and Soft Dramatic Styles

June 15, 2013 by · 11 Comments 

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.  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.

David Kibbe Metamorphosis

 

 

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.  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  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.  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.

 

Photo: surrahman

Photo: surrahman

 

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.  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.

 

True Summer and True Winter
True Summer and True Winter by christinems featuring pyrus

 

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.  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.  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.

Photo: lpierard

Photo: lpierard

 

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. 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 and  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.

 

Photo: lemunade

Photo: lemunade

 

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).

 

Photo: br44

Photo: br44

 

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.  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.  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?

 

True Summer Soft Dramatic 1
True Summer Soft Dramatic 1 by christinems featuring diane von furstenberg

 

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. A 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.

 

True Summer Soft Dramatic 2
True Summer Soft Dramatic 2 by christinems featuring patent leather shoes

 

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  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.

 

True Soft Dramatic 3
True Soft Dramatic 3 by christinems featuring paul smith – black label

 

 

 

—–

 

The Best Skin Finish on Summer Colouring

November 12, 2012 by · 33 Comments 

Feeling Imbalance

I went to a meeting. As the women arrived, one woman distinguished herself immediately as a leader in any crowd. Her physical presence was noticed first because she was quite tall and strongly built. Her face was equally strong, in the colours of coffee, cream, and golden piecrust, with clove brown eyes. Wearing bronze eyeglass frames with copper glints, her only makeup a beautiful deep cinnamon lipstick, she was striking and beautiful.

She moved through the crowd with confidence. She had the business savvy to put in a plug for her company as smooth as could be. Her natural qualities of character were as manifest as her beauty. Her choices in clothing and jewelry, although of high taste and quality, were confusing.

Nobody is ever unattractive. Every woman is truly a beauty in her face and her heart and I can look straight in your eyes to say that. But there are better choices. Better ways to spend our money that look more truthful and less artificial. In a white dress with splashy flowers in primary colours, suddenly, the random blonde hits in her hair stood out as disorganized. The coloured glass bead necklace looked plastic because our energy modifies not only colour but also texture and everything else that comes near it.

In the white jacket, our needle skips into a groove of wondering about skin that’s seen too much sun. It’s uncomfortable now. We have thoughts we don’t want to have. During your colour analysis, we’re going to see what the drape colours do to your skin. We are equally going to observe what your own colours do right back to the drapes (and so to your clothes and jewelry choices). Next to our woman’s colouring, white ages her skin. She in turn alters simple white to become strident and look, well, a little cheap. Thoughts we don’t want to have.

We love this woman. It doesn’t feel right that we can’t settle in her presence but our visual system is on a roller coaster with too much to process. I’m always reminded of a light-coloured person wearing those Christmas sweaters in strong reds and greens with shiny ornaments appliquéd on the front. Like wearing garland. We’re feeling effort and distraction.  Subconsciously, we’re scanning the room for somewhere easier to be. She is an Autumn, probably True Autumn, wearing colours and feelings made for another woman.

Where’s the balance? How can we know the way to enhancing what we are in a way that attracts people into our presence? By wearing the colours and lines that we are.

Soft Natural True Summer

One of our group wondered about a Polyvore using the True Summer palette, adapted for a Soft Natural body.

 

Classic bodies are people who are medium in their proportions, like me. Nothing really out of the ordinary,  in the center of the National Standards charts. Natural bodies are similar, with a heavier bone structure and more muscular tendency. The other groups belong to those body shapes that strike you as ‘not average’. They are Dramatics (long and lean, Keira Knightley, or long and curvy, like Bond girls, Ursula Andress), Romantics (smaller curvy, like Adele) and Gamines (Mighty Mites).  These are very loose versions of the 13 body types outlined in David Kibbe’s 1987 book, Metamorphosis. If you can find yourself, it is brilliantly good.

I am not brilliantly good at Kibbe’s interpretations. This is my take on SN. It won’t match anyone else’s.

 

True Summer Soft Natural
True Summer Soft Natural by christinems featuring turquoise jewelry

 

Classics dress head-to-toe. Natural means separates.

No Croc, Brahmin, Python…Summer isn’t lizardy, futuristic, or obviously modernistic. Even on a Dramatic, they are more of a high breeding and ancestry group. Those other words are too cold and hard. They seem oily to me, moving into smarmy. Great on the right person though. We’re just looking for your normal. If you look like you’re wearing a costume, you’re in the wrong Kibbe and/or the wrong colours for you.

Choose coloured handbags. The choice in this item is endless. Gray or black ranges from sensible to serviceable to kind of depressing. Water colours, berry pinks, gorgeous blues, these are beautiful places to pick up the makeup colours. Trust me, we’ll see it, even in a fingernail. You would on someone else, right?

Cool Shimmer

Summer skin is most beautiful when it’s smooth, silky, and dry. This colouring is not at its most beautiful glossy or frosty, slick or metallic, which boomerang us back to wet, cold, and hard.

True Summer skin’s way of handling light is the diffusion of moonlight. There, we can find no sun, no hardness, no glitz, no wetness. There’s no winking like fireflies (that’s Bright Spring), no sharp gleam of platinum (True Winter), no dew (Light Summer), not iron and lead (Dark Winter’s gray feelings), and on it goes. Moonlight is not blingy (that’s Bright Winter’s normal). Moonlight is very cool and very soft. In a morning sky, it’s a sheer cloud-white curtain moving in a breeze. At night, a cloak of pearly, silvery light.

Vision theory moment: Moonlight is a combined reflection of sunlight, starlight, and reflected earthlight. It is neither blue nor silvery. We have colour sensitive cone cells in the retina whose highest sensitivity is to yellow light. But when illumination levels are low, the cones fire less. We become almost colour blind. The very light-sensitive (but colour-insensitive) rods take over and they happen to create more impulses in response to blue and green wavelength light.

 

Photo: Bongani

 

In the way of Summer skin to mirror the colours and textures it wears, it will shimmer in brushed silver. The way to iridescence in skin is in brushed shimmers in pink, lavender, or blue, since these are the notes found through the entire palette, including the grays. You look amazing. The shimmer is an even veil. Put a Winter in those colours and textures and you’re looking at the skin through a window that needs cleaning.

Even satined makeup requires caution. Satin on Summer skin can convert into cold and frosty because these colours are already so extremely cool and the complexion is delicate. On Winter skin, frost is just skin, in the same way that Winter’s so-white-it’s-blue white will be just-white on a Winter and aggressive-colour-under-oily-face on a Summer. Only you see your clothes on a hanger. The rest of us see them compared to your own colouring right under your face. Again, just looking for what looks like normal white on you.

Textile that mutes colour is effective. Not the stronger thicker textures of Autumn colours (and skin). This is the much softer side. Summer isn’t thick, straight, or hard. It’s swirly. Spring is sweet and scattered, moving towards pointy and buoyant. Summer is grounded. It sweeps like a porch swing, a branch in a breeze, the lines created when you pour liquid slowly into liquid. The Best Skin Finish on Summer Colouring: , dreamy, dreamy, dreamy. (Light, True, Soft :))

Summer colours are light (compared to Autumn and Winter), cool, and soft. Summer surfaces look muted and lightweight (Spring, who goes from frothy to floating, is closer to weightless), with brushstrokes or a gently buffed texture. The softness is feathery. Fluffy is good. Downy is great. Good dreams have fleecy edges.

Shiny surfaces shift colour to appear lighter and brighter. That’s great on Spring but makes no sense with Summer’s colours. They don’t cooperate. Since those same colours exist in Summer skin, it won’t cooperate either. White feathers can be almost blue in moonlight but they’re never the colour of lightning (Winter).

The True Season Analysis

If you’re a True Summer, remember when the analyst saw that drape on you right at the beginning of the PCA and stopped for a minute? And changed drapes and went back to the silver, and kept going back to the silver without telling you why?  She saw something. She didn’t move the drapes that way on your Bright Spring daughter.

Finally, she said, “I see today’s session is going to be a little different.” A True Season analysis is quite singular. In the True Summer silver drape, the face is perfect right from the start. Skin is evenly coloured. The eyes are so huge, you’ll think I’ve lost my marbles, I wonder if the colour analysts will recognize this, I am reminded of those glowy pearlescent white alien forms with great big eyes like from the Close Encounters movie.  (Read the story – no accident that Spielberg put 6 year old ballerinas in those outfits. The man had a handle on Summer.)  In some ways, with a True Season analysis, you begin at the end. Most remarkable, regardless of which of the 4 True Seasons you see.

More True Summer. They always look like this to me. The eyes are all you can see, the skin is so cool and quiet.

 

Photo: prima_vera


 

Photo: ilco

 

The Summer Skin Finishes

Integrating Summer into the Spring and Autumn we’ve already done,

Bright Spring: glass

True Spring: persimmon

Light Spring: petal

 

Light Summer:  peach

True Summer:  cotton

Soft Summer:   flannel

 

Soft Autumn: suede

True Autumn: velvet

Dark Autumn: leather

 

True Summer

>> paper to pearl

Use face powder. Translucent.

Use a foundation brush that makes the product a thin even layer. If I’ve applied your makeup, you know I’m selective in the extreme about where concealer goes and how foundation is applied. It’s fast and simple but there’s a way that I think works best.

What I don’t do for lack of time is follow with something I do on myself, and everyone could, which is to buff the skin a bit more. The Body Shop Extra Virgin Kabuki brush is my favorite (found it on beautypedia.com of course). It’s much too general to be the first foundation brush to my picky preference, but it leaves a superb buffed finish without moving the concealer and foundation from their zones.

The Shine Stopper at Paula’s Choice is very good. It works well on the T-zone.

The lips should look about like unpowdered, natural skin or just a bit shinier. Gloss = goop in a heartbeat. I’m not telling you to have powdery lips, just stay with reasonable, believable lip moisture, not a whole lot extra.

The colours of water are so important in True Summer – wear this type of jewelry, scarf, and movement near the face.

Navy mascara, soft not intense sapphire (Dior Icone Blue 268). Grey is hard to find, but the various Soft Blacks and Almost Blacks are fine. Black equals railroad tracks.

Stay with calm, fresh, gentle contrasts. Summer’s light colours are pastels, meaning more pigment than Winter’s light colours that are much closer to white. Avoid too much distance between lightest and darkest elements in hair, cosmetics, and clothes. Keep them closer together.

It’s quite important to settle in your mind how far from white your lightest colours are. Look at them and notice that it’s a long way to white from your coloured pastels for all three Summers. The eyeshadow highlight for Winter is some version of ice. On Summer, I use more colour under the brow bone, as muted (grayed) shell pink, where the amount of graying depends on the Season. True Summer might wear Merle Norman Ballerina, while Soft Summer could wear Merle Norman Mist.

Use eyeshadow instead of eyeliner or diffuse the liner well by applying shadow over it.

 

Light Summer

>> pearl to petal, as daisy, as butterfly wing. A little more fluff than Spring, a little more dry-down.

Photo: mcoot

 

The True Summer section applies. There is more warmth here as a first warm weekend in May. Outdoor glows are great but controlled. A pale pink gold gloss or an uplight on the cheeks is plenty. You are a Summer, not a Spring, so restraint is needed. A May picnic isn’t the same as the beach in July. As a Neutral Cool colouring, remain cooler than warmer in everything you add. The Mineral Glow in Shimmer at e.l.f. is a nice choice without a lot of heat or a silly price.

On the Light Seasons, the lightest colour is plenty. The lightest application is plenty. The sheerest sheers will look so much younger. The blush by e.l.f. called Shy is one I love. It would set you back 2 whole dollars.

Face powder still applies. Use translucent, perhaps with a slight yellow tint.

Wondering what else to invest in at e.l.f.? Go to beautypedia.com. Click Search All Reviews. Choose Brand e.l.f. Cosmetics.  Down in Skin type, click all the types. Down in Ratings, deselect all the boxes except Paula’s Pick on the left side.  Why spend the same money and not get the best? Scan down the price column. Not bad. Now go back to the Search and select the Very Good box. 4 pages. Even better considering what’s coming next month.

 

Photo: przybsz

 

The best makeup takes the lines and colours you already have and makes them more. It doesn’t work to superimpose someone else’s lines or colours on yours. Carol Tuttle of Dressing Your Truth taught us to consider the slant of a straight line drawn across outer – inner – inner – outer corners of our eyes. Position the outer corner of your eyeliner along that straight line.

The Spring stroke in Light Summer often places the outer corner higher than inner. Follow that. Don’t add cat eye effects unless you’re under 20, going to be in a music video, or are a Bright Winter Theatrical Romantic, and even then, it’s better in eyeglass frames than eyeliner.

Many True Summers have a very round eye, almost square. If the outer eye corner seems to pull downwards, then don’t extend the line at all, just keep it close to the rounded outer corner of the eye.

One of the many places to use concealer is to cover the red and/or downward crease at the outer corner of the eye. Blend the concealer up, not down. Everyone should do this. Nobody over 20 should use frost.

 

Soft Summer

>> pearl to flannel

From our textures above, Soft Summer becomes more woven, drier, and thicker as we move deeper into Autumn. Cotton to waffle weave. Light Summer will wear L’Oreal Peony Pink lipstick, while Soft wears Spicy Pink.

Soft Summer is not the dustings of icing sugar or flour above. It’s a dusting of dust. Contour with powder 2 shades darker than foundation. It looks like believable sun without seeming dirty or yellow. Clinique Superpowder Double Face makeup in Matte Tawny 06 is an option. Your choice is still cooler than warm, like a foundation but  a few shades deeper.

Use it as contour, as we began discussing in the Autumn article previously. That means in a 3 shape around the forehead, where the bone is most prominent, around the temple, under cheekbone so the blush can be blended above it and nearer the midline, and a little under the jaw. If the nose shape is not sharp, add second contour by beginning at the inner corner of the eye and go down the sides of the nose bridge, just off the midline, not down on the nostril. The deeper eyeshadow that goes above the crease is diffused away as it approaches the midline, at a level about where this second contour placement would go if extended under the eyebrow.

 

Photo: riceguitar

 

During the cosmetic colour section of your PCA, we focus on what right colour looks like on your skin. I really want you to see someone very new to you and also, that when cosmetic colour is correct, you can apply it and pack it on and apply more. It just melts into the skin. You can be a lot less careful than you’re used to with wrong colours. Some steps are left out for lack of time and small learning opportunity. Lipliner is one. I never use coloured lipliner anyway. I use a clear sealant to keep lipstick in place. Paula’s Choice makes a great one. The Lip Lock pencil at e.l.f. is another.

The cosmetic selections for Soft Summer are unlimited. You could fill pages and pages. At e.l.f., the Mineral Blush in Plum mixed with Pink or Joy to get the right darkness level, looks like it would be pretty.

For eyeshadow, look at the Endless Eyes Pro Mini in Everyday. You won’t use them all but for $5, it’s almost ridiculous.

 

On Summer, application is gentle and swirly. There are so sharp lines or edges.Diffuse one product into the next. The canvas is drier, using powder to ensure that products don’t catch and jump. If using cream products, apply them to the skin before the powder so they appear from within.

 

Recap: The skin is soft and dry, setting up gentleness and gradual muting. The features are blended into the skin with colours that create a soft flow or diffusion instead of sharp definition. As colours flow into each other as hazy mists, it feels difficult to tell where one feature ends and the next begins.

For Autumn: The skin is contoured, setting up lowlights. The features are defined from the skin by colours that are warm and velvety and the judicious use of metallic glints.

This was Spring: The skin is dewy, setting up highlights. The features are fresh, lively, distinguished from the skin by being very colourful, moist, and vibrant.

—–

 

Autumn’s Children

July 26, 2012 by · 25 Comments 

When I wrote the articles about True Season children two years ago for a previous blog, there was no Autumn article because I didn’t know any Autumn kids to watch. I still don’t know many. I know many Autumn grownups these days. They’re so levelheaded, so reasonable, that it’s hard to think of those elaborate parts of their character that can be quirky or funny. To them, what is, is. Not more, not less.

They’re like everything that’s great about trees and home baking. Not fancy or fussy, I love their company so much for the WYSIWYG, sound, comfortable, real-world advice they offer. Their constancy and durability give us a feeling of people who are extremely trustworthy, reliable, and rock-steady. There’s no zigging and zagging.

Photo: gersondj

gentle eyes, a soft face, perhaps some Summer; she could even be a Soft  Summer but the eyes look too orange

Autumn Children

Capable. This is the kid you want yours to be with if they go horseback riding. If yours falls off and is having wrist issues, the Autumn child can catch both horses, lead them home, find a grownup or a phone, call the parents, and get the right kind of help.

Life goes smoother if the other kids could just agree with them. There may be no physical attacks but there will be direct words spoken and order imposed. She’s doing the talking at the lemonade stand. Not bossy, not show-off, just doing the job.

Least likely to be picked on. Assertive from an early age.

Photo: the_franz

dark but somehow soft (muted actually) ; the strong facial lines, smile lines

True and Soft are social, not solitary. Dark may isolate himself more and talk to dolphins while all the other kids are trying to tip the raft. Winter needs time apart.

Might be stocky or sturdy, especially the boys, and boy, can they eat. Regardless, boy or girl, these children are strong and willing to use their strength. They are powerful athletes and real survivors. Their stamina and endurance stays with them into adulthood as 50 year olds who can still outskate all the kids in pond hockey.

Photo: redvisualg

someone was smart when they put him in orange; notice the orange tones in the hair and a very strong face, even for a baby

When the Soft Autumn child tells a story, the emotions involved will be inflated higher than anyone else’s version because their Summer-ness felt them so deeply. The Dark Autumn child will have more worries about the events in the story and their meanings and repercussions. The Winter in him will keep him worrying about it for days. The True just tells it like it is. The most exaggerated thing about this person is that they have no exaggerations.

Need time to process surprises and really wishes you wouldn’t. His Spring sister’s idea of euphoria would be a surprise a minute.

Photo: BrachAnam9

building, digging, stacking, carrying, exotic eyes, Carol’s T3 defined points at the outer eye corners (from Dressing  Your Truth)

They must have their own experience of something to change their mind. They are the original can’t-tell-them-anything kids.

 

Photo: kami_cze

strong and striking, Autumn and Winter ; not romantic or cute (Summer and Spring)

The Autumn child is straight up. He doesn’t conceal, cannot deceive. He’s not a jokester and is never devious. His Spring brother, who takes life less seriously and has a big imp streak, has figured out that when Mom’s on the phone, he can climb out a window, double back around the house to the kitchen, and sneak his fifth Popsicle of the afternoon. The Autumn child might walk very quietly into the kitchen, but if noticed and asked, would be compelled to admit “5″.

Spring fills us with the wonder of the moment. It is immediate. Summer is the cradle that keeps us safe while pushing us to meet our highest potential.  Winter symbolizes mental capacity, to reason, to rationalize. Autumn is the work we do on Earth, to enrich, to build, to create, to leave something better than we found. Autumn completes our wholeness as the power of the physical body, inseparable from emotion (Summer), spirit (Spring), and logic (Winter). Without the balance between them, we cannot heal ourselves because each one is assaulted when the other feels injury. We also cannot fulfill our human potential. We cannot have been put on Earth with the abilities we have to live as cavemen. We must be here to live up to a higher ideal. The pendulum between the four powers sways but our answers are not behind us. Once we learn our center as a humanity by respecting all four energies equally, we will find a sustainable way of living and the answers to longevity.

Autumn Grownups

Sensible, practical, no-nonsense, peaceful. Harrison Ford. Martin Sheen. Their steadiness makes them shoe-ins for feel-good TV presidents. The Summer contribution of do-the-right thing to Autumn’s save-the-day strength.

The Dark Autumn boy will explain, indeed expound, actually expostulate, on his topic, with no awareness that nobody has had a chance to speak for 20 minutes. The Dark Autumn man is not very different, but he speaks more slowly so he has time to formulate his thoughts. He is the professor to Dark Winter’s philosopher.

Photo: AD-Passion

strong and capable at every age

What happens when a Summer and Autumn live together? Felix&Oscar.

Soft Autumn’s husband asks that you not tell her that a family member is in personal crisis or he’ll be sent back to the Farmer’s Market. The rest of his morning will be spent making ham sandwiches. He already delivers an asparagus quiche to the Art Gallery once a week. She combines Summer’s love and upstanding decency and Autumn’s foot on the gas to nurture the entire world.

True and Dark Autumn will be on time. Let’s get to it. Then we go on to the next job, though we tell ourselves we’re going to rest. We can chat after, but I won’t be late for my next appointment or make you late for yours.

If a client has all her children colour analyzed, she could be a True Autumn. She sees the sense and the savings, and is completely open to change. Light Spring will do the same, a mix of her Summer desire to make her family happy and her Spring enthusiasm when she spots a good thing. They will adopt their new palettes very quickly, without Winter’s tendency to contest or Summer’s to resist.

Photo: Annalog85

hazy eyes, hushed skin, a future Soft Autumn

If it’s a plain and honest opinion you want, go shopping with an Autumn. Summer’s deep streak of kindness will embellish with the compliment, any compliment. If you’re ok with the cold-blooded comment, a Winter can tell you that your suit is fine if you don’t mind looking like a birthday cake. And then you say to them “Now, how would you feel if someone spoke to you that way?” And they say “Fine. I wouldn’t care.” They’re telling the truth. They are thick-skinned (so they balance matte and opaque cosmetics), while Summer is thinner-skinned, as sensitivity of skin and emotion, as wearing a softer, lesser pigment deposit (so tinted moisturizers), as being more touchy of feeling internally and of texture externally, as tactile, with highly developed brain-hand connections and sense of touch. Summer skin is soft matte. Spring’s looks best dewy. Just as everyone’s busy is different, everyone’s Golden Rule comes out different but it’s still the same rule. Winters should shop with other Winters. Buy them the book Getting To Yes for Christmas. It will help them in life. The kindness of Summer and sweetness of Spring might see this Winter, meaning me and only me, as having the heart of that first cockroach that crawls out of a nuclear accident zone. On the other hand, I won’t tell you 3 months later that I really didn’t love you as a blonde but didn’t want to hurt your feelings, knowing what that hair cost you and all.

Dark Autumn brings in Winter’s flash. Whether Gamine, Classic, or Natural, words like Dramatic and Flamboyant will apply. Getting out oh the car, she will not come across as medium. Something is extraordinary and exaggerated – height, hair thickness, texture, and length, snap in her character, or embers for eyes. Julia Roberts may be Dark Autumn, Bianca Jagger, Dark Winter, perhaps both Flamboyant Naturals. The Dark Autumn will reveal or release much more of herself, while the Winter will keep larger parts of herself locked down.

The three Autumn groups look rightest in brown eyeshadow and liner because brown is dark orange and orange, gold, rust, etc. are cornerstones of Autumn. The only other great one for brown eyeshadow is True Spring. Everyone else is better in their grays.

Photo: doriana_s

 Autumn’s face (left)  speaks to us of resilience, bravery, and grit, in colours that are darker and more muted than the lighter, brighter skin on the right; Summer on the right is dreamy and swoopy – on both girls, gorgeous base hair colours for Soft/True Autumn and Light Summer

Will promote what she believes in gladly. She told every one of her True Autumn friends that some of the best makeup colours around are at Dressing Your Truth online store for Type 3.  The three lip glosses just glow with rich warmth. And an Autumn pink eye shadow, you’d find that nowhere. Then there’s, the jewelry! She saved hours with the 6 pages of superb choices at the store. She thought about all her outfits and chose what would complete each. (Her Spring daughter just bought everything she liked, with no planning at all, figuring it would all work out. Imagine that.) To express her traces of Summer or Winter, a Soft and Dark Autumn resepectively might look at the Type 2 (Summer according to me, not to the folks at DYT) and Type 4 (looks Winterish) accessories. Since both SA and DA are Neutral Seasons, they can be flattered by silver and gold. A Soft Autumn looks great wearing Autumn colours in Summer’s way (analogous, flowing, floral, soft). Dark wears her palette in Winter’s way (bold, more contrast).  So integrate your smaller contributing Season by wearing their style in jewelry with clothing and makeup in the colours and style of your own Season.

—————-

 

Photo: alesia17

Strong Beauty

Makeup Colours

Soft Autumn, try out Lancome RIL 230M and 240M, your natural lipcolour is one of these or in between. Also NARS Mayflower lips, Body Shop 11 and 07 lipstick, and MUFE RAI 19 (for TA too) lipstick.

On Dark Autumn, NARS Pigalle, MUFE HD8 blush, Lauder Maple Sugar and Rich Currant lips. A good, dark,warm, barely muted blue eyeliner is Revlon Colorstay pencil in Navy. Dark Winter could wear this very well too as they have warm tones  in hair and eyes.

True Autumn : MUFE HD10 blush, Givenchy Gold Brown lips (really nice, this lipstick, but sample it at Sephora first, big $$).

 

_____________

Dressing Your Truth in 4 Types and Seasons

June 4, 2012 by · 64 Comments 

Nirmala left a comment after the last article on 12B that really sums it up. Kind of paraphrasing here, but as she says, we can’t see ourselves, that’s Problem 1.  Though we search for our truths, there’s no easy road. They are quite cleverly concealed, maybe as protection from us, for if any way were revealed too soon, we would probably misuse them like any information we get when we’re not ready.

A clothing system won’t be the as-the-crow-flies route to inner truth. The most it could do would be to open a window. The opinions of others, even professionals, are subjective, variable, relating taste and opinion more than anything else. Compliments are of no value to me, they just drag me off center for a week or two. Though the 12 Seasons of personal colour analysis may not have every answer, it is at least measurable as long as the compass is calibrated right.

The Sci\ART drapes are calibrated into measured increments. That’s what a Sci\ART colour analysis gets you that is so incredibly special. The line between one group and the next is clearly divided in coherent, defined, steady intervals. Connect the dots is way easier when the dots are numbered. Sci\ART has human colouring classified right. Doesn’t mean that analysts who do colour by eye are wrong. I’m a huge believer in humans as little electrical towers and perhaps some people can feel our emissions of light energy as our colours. I’d lose faith if two such analysts came up with really different answers though.

Dark Winter Type 1

Maybe Sally Field looking (not so sure she’s DW). Or Mario Tuttle, though with that nose shape, he’s more likely a Bright.

 

 

Dark Winter DYT Type 1
Dark Winter DYT Type 1 by christinems featuring clutch handbags

 

For Type 1, I went with light, young, fun, random, playful, upward, hearts and triangles, freedom of movement, sprays, fountains. Detail and eye catchers are placed high on the body, so no black outfits with yellow shoes.  Some bold is ok, this is Winter, but nothing serious, sharp, or rigidly repeating. Got to get light, bright, warm, fun, and alive into this. And fairly contrasting.

Tunics could be great here. And prints.

Lots of jewelry that doesn’t necessarily match. “Life of its own”, not floppy and not stiff, Perkily crisp.
I like the zigzag of the sleeves on the two tops at the top.

Clothes can feel light without being light coloured. Taylore Sinclair’s totality of radiance actually comes in here, where fabric, design, and texture all contribute to a person’s movement.

Chose heavy heart lockets that wouldn’t get lost in the contrast and weight of the colour. Torn between the 2 lockets.

Black can’t be chunky or serious or this girl will grind to a halt and look glued to the ground.

Shoes are light. Even a wedge is too blocky.

 Dressing Your Truth: What I Liked

About the Dressing Your Truth course, my friend asked “What do you like about it?”

- I like Carol. Makes no difference to me how she promotes herself, whether she’s licensed, whether women can or can’t find their Type, or how many websites she owns.

- I recognized my drive for standardization (of colour analysis systems), my obsession with being able to duplicate results (between colour analysts or it’s all useless to the client), and my need to promote it – all as Type 4 traits.

- I learned about the most dominant types of lines in my face. I follow them to apply eyeliner and blush. Our movement path could be drawn on paper as we negotiate tasks big and small, through problems towards solutions. The lines tend to be consistent with other lines, like those in our face. Fascinated me. I really like the part about how we move forward and how we get stuck. I’ve watched people who seem unable to end one interaction or activity and move on to the next. The nearer you get to an ending, the more they’re compelled to drag it out in a thousand ways. Since I almost erase the past as I’m living it, watching this deliberate delaying left me saying “Just  make a move. Don’t worry if it’s wrong or right!” Now I get why that was not helpful for them.

It was fun to actually draw makeup with those same lines. I see that if you draw a line across my eyes from outer corner> inner corner> inner corner other eye> outer corner other eye, the line is straight. So now I extend eyeliner out straight a little ways. My kids have not said I look nuts, which they are well trained to do given even a smidgen of provocation.

- The psychology that goes with the lines structures is great. I see now why True and Soft Summer have more issues with their palettes than everyone else put together…because it’s her (Type 2, Summer, whatever) nature to examine every single option over and over, like she can never have enough evidence to make a choice. And why I shoot off like a rocket and ignore all the fine print.

And why my Light Summer sister can get so deeply hurt over words or actions that I wouldn’t even notice. Her weakness isn’t her huge sensitivity; it is her strength because it’s her truth and because the world needs so much of what she has to offer. Telling her “Stop letting every little thing get to you!” is disrespectful and confusing to her. Now, I will hold her in higher esteem for it. Learning to honour others better has been the greatest reward of DYT. So much has fallen into place -why I’ve stood at makeup counters with Summers watching they energy test eyeliners.

Figured out why I have been sent so many more True and Soft Summer clients than any other. We relive the same experience over and over till we learn its lessons. I finally see that I need that character to balance me, to model certain behaviours I will need in my own future. I am grateful they came to see me.

- Picked up a few good clues on clothing to add to my Season and Kibbe, but this was far from the main selling point. As a matter of taste, Carol and I don’t share a belief of what looks good, let alone true. As a matter of statistics, it’s unlikely there are only 4 style Types in the world, even if you could prove that there are 4 main movement types. The diversity of genetics makes the probability too low unless the types are so broad that few can tell where they fit, especially if they contain some of each, which means most of us. And it’s been proven across populations that 4 main colour types won’t work. This energy system won’t be any different. Still, would I take the course again? I would in a heartbeat.

- Learned a lot more that I can apply as a better spouse/parent/workplace than as any kind of fashion star. But then, I came into it exposed to a lot of info about Winters, Dramatic dressing, etc. A newcomer might pick up some great advice or a good intro to thinking about how clothes are cut.  I did buy some jewelry and I like it.  For all 4 Types, the jewelry is nice for the price at the Store. Mine is about 2-4 times larger than it looks on the site.

IDK the DYT rules for the 4 Types.  I’m just extrapolating the energy of the person, like I did with how the colours felt to me in RTYNC (the blue book over in the right column). Doesn’t mean it’s the only way, just my way. DYT is a natural expression we feel as movement. Same with seeing those lines anywhere, a book plot, a mechanical device, a wind pattern. What Carol has tuned into and translated is four different movement types and how their energy feels interpreted with clothing to create a visual image. For instance, when we see parallel lines, they look like a mirror. With that, we associate reflectivity and stillness. Reminding of the 4 True Seasons? Absolutely, but a new spin in many ways.

There’s no reason you can’t be true to your colouring and your movement type even if they don’t coincide. Neither takes precedence because they’re describing different things. Your Sci\ART Season knows your colours. Your Type offers an opinion about your shape as expressed by your style of movement. The whole silver gold thing for Types, I pretend I never heard it.

True Spring Type 2

Type 2 is the Summer “stereotype”, awful word but it serves. So, connections – tops with bottoms, repeating colours, interlocking shapes. Gentle flow and drape. Less delicious and vivacious than the “stereotype” True Spring, more of a Summer analogous colour scheme. Wavy lines.

I know two of these women. They’re certainly True Spring, they look like T1, but they lead in movement with T2, at least when I met with them.

 

True Spring DYT Type 2
True Spring DYT Type 2 by christinems featuring cowl neck tops

 

Beauty Sixth Sense

Do I agree that women have a “Sixth Sense” about their own beauty, as Carol claims in the Dressing Your Truth course? Not for a second.  I know for sure they don’t. I had to be in my 50s to come close to recognizing me. Others can’t always tell either. I have a True Winter daughter whose Kibbe or Type I cannot figure out. I wish women wouldn’t feel so devastated and to blame when they can’t find their answers. I wish they weren’t so willing, eager even, to believe every word of it all.  I read it all like a novel rather than non-fiction, let it come at me like one person’s story, like one person’s travel diary.  Your journal to the same place would read different. I read it like a recipe book. I find one I might try out, and 20 that I would never use but I don’t burn the book. Why give someone’s opinion more importance than that?

Anyone’s an expert if they say they are. One quick look at logic trees with 4 only branches (4 Seasons, 4 Types) can tell you they will only apply to each person superficially at best. If you saw a 4-branch tree to cover all disease in the world, how much attention would you give it to find your own aches?  Not more than a glance.

Kibbe used the Yin Yang metaphor to describe variations of shape of bone and flesh. He also brings in the very important issue of scale, not just what it is but how certain bodies make it look (the Yang-er you are, the taller you appear and the smaller you make jewelry look). If you can find yourself in his book, he’s the guy who got human body geometry sorted most ergonomically. He makes a point of keeping the colour talk very general. It surprises me how dogmatic DYT gets on this point given that it’s not their emphasis. They could do the whole thing as well, indeed far better, if they just left colour out of it, but fine marketer that Carol is, she realizes that if she’s not 100% convinced, nobody else will be either.

Bright Winter Type 3

boxy practical  functional big textured simple natural regular strong corners

a very Yang person, pants have a fly and a worn with a belt

not so straightforward to express work instead of fun with these colours

heavily accessorized…now that works with BW and T3, glad I found someplace these 2 come together,

though come to think of it, a BW usually has some big Yang elements of character and colour

every one of these Seasons/Kibbes/Types have their intersections; it’s when you find them that the fun starts.

the slightest whiff of Spring and turquoise and purple should appear (Autumn? teal and burgundy)

not too confined at the neck so she can move towards you, as it is her movement to do

 

Bright Winter DYT Type 3
Bright Winter DYT Type 3 by christinems featuring wool blend pants

 

Deleted Comments

I deleted several comments to this website aimed at exposing Ms. Tuttle and her sources. Find them on Amazon if you like. Truly, I just don’t care. Anybody can pick up the similarities in wording and philosophies between various colour systems.  So what? Ballet, yoga, and Pilates have similarities that stem back to their common origins. However similar the language, DYT seems to have applied the knowledge in a different way so that’s fair.

Why does DYT create such intense emotion when it doesn’t work for a person? In any discipline, there will be those who can deliver and those who can’t. The consumer decides for themselves, just like which vet to take their pet to. We’re not saving lives here. It’s clothes.  So Tuttle’s explanation doesn’t work for you. Another one will. Where does our perspective go? The words of others only have as much power on our path as we choose to give them. These days, I’m picking up the pieces and moving on about everything.

In an email, I was advised to examine my own reactions carefully as to why I removed those accusatory comments and blame-filled reviews that were deemed “heart-wrenching”. My contemplation came up with this: I didn’t find it heart-wrenching at all that some clothing system didn’t work for one person. Probably did for many and didn’t for many. The expectation was unrealistic to begin with. Call me a heartless Type 4 but I couldn’t get bogged down in something so full of holes and hope to see me come into focus somewhere out of the haze. That’s looking for love in all the wrong places and we’re back to the Kingdom of Heaven being within, but it takes a heck of a lot more self-work to get to it.

Everyone finds their true self, the deepest soul that their body incarnates, in different ways. Colour has been a metaphor for many revelations but it doesn’t bring me to my knees. Where I go to get myself right, where I finally understood what it means to say “Love is free”, learned the true purpose of prayer, figured out what the Chakras/sacraments really represent (abundance, health, humility, love, truth, wisdom, and grace in that order, my opinion only), and met my best and worst selves in a way I could work on them, was in Carolyn Myss’s book Entering the Castle. It’s the Bible that I read and practice each day.

Although your colours hold true as part of your energy spectrum at every level of your being, they’re also part of the physical world and part of the five senses. The special and specific grace that you came here to share comes from deeper than that, or any tip-of-the-iceberg colour, image, or clothing system. Your truths are far more encompassing and more connected to the energy of Divinity. We’re a long way from understanding that but we can approach it and we can feel it.

 Soft Autumn Type 4

All the usual True Winter adjectives – bold, simple, symmetric, long straight lines.

Structured for sure. I keep my jewelry in fishing tackle boxes. $4.46 at Walmart now that you ask.

The lower R corner outfit would be secondary T2, with S straps on shoes and teardrops or earrings.

This one was by far the  most difficult. In my mind, I can see these colours looking fine for this person (though not how I see their best), but finding the clothes is another thing.

 

Soft Autumn DYT Type 4
Soft Autumn DYT Type 4 by christinems featuring strappy flat sandals

 

 

Long ago in our lives, shopping began as an exercise in acquisition. It suddenly made a lot more sense when you learned your right colours and shapes, becoming something you could fully control. Then a few more levels of refinement opened up. Now, it’s a game of hide and seek.

 

 

The True Summer – True Winter Divide

May 26, 2012 by · 34 Comments 

When Tina first learned she was a True Summer, she encountered the same roadblock that can stump most, probably all, newly identified True Summers. How do I know this colour is Summer, not Winter?

Have a look at previous articles Matching The Swatch Book: Blue and Matching The Swatch Book: Coral.  Both were written to help with that.

Today will be about the True Seasons, but most of it could apply to any of the related Summer – Winter groups, so Light Summer with Bright Winter and Soft Summer with Dark Winter. If you’re thinking “How are those related?”

>>Light Summer and Bright Winter both start from a pure cool colour palette, Summer and Winter, respectively. Then they move over one position in the same direction, towards Spring. To look at the colours, the same amount of the same kind of heat gets added to each one.

>>Soft Summer and Dark Winter move from their pure cool True Seasons by adding the same amount of the same kind of heat, that is, Autumn’s.

The blue book in the right sidebar, RTYNC, explains this in more detail. It also includes the map below. Like on a colour wheel, relationships exist beside and across.

For the True Summer and Winter, we’re working with colours where you cannot see one bit of heat. Not vanilla, watery sun, pale dust, white gold, certainly no beige, no tan, no orange, and yellow under certain conditions (coolness). True Summer’s is skim milk white. Its light colours seem more colorful than Winter’s because Winter’s lights have so little pigment, to create the ‘icy’ look. Summer’s lights are pastels, by definition meaning they contain more colour pigment and are softened by being grayed. There is no such thing as an icy pastel that I know.

True Summer has a pretty big range of darkness. It would not reach to black or white but can get quite close in ghost and dark grey.

Tina’s Sportswear for True Summer

Tina has a fine understanding of True Summer. My favorite feeling about this Season is its freshness. If I start getting a sensation of weight or thickness, my own interpretation of the Season doesn’t jive. I love the green and pink hoodies bottom right, the blue bag and sleeveless top, the pink shorts, the long dress. All really good.

The turquoise racerback tank might be a little bright (saturated) and a good example of what adding just a little Spring yellow does – so, I’d put that guy in Light Summer. But does it bother my eye in this collection? Not at all.

When you think about adding water to colour, you appreciate that it can become diluted and less saturated without losing its clean feeling? True Summer is like that. There isn’t so much gray that it looks like it got put in the dark wash. It does have some bluish-greying, but not enough to take the colour down very far. So for me, the pink hoodie top L, the Nike logo Tshirt and sweatshirt, the grey-mauve shirt and jeans all feel heavy – could that be fabric, pattern, texture, and shape? Sure, they all influence how we perceive colour. If your opinion is different from mine, that doesn’t mean it’s wrong.

 

True Summer Sportswear
True Summer Sportswear by tinabee1967 featuring fleece tops

 

Tina broke down her early trouble spots into four great questions. She also took the bigger and better learning step of making her own Polyvores that we can talk about. I want her know how much we appreciate her willingness to just listen to any comment, agree or disagree. Easy to say, not easy to do.

1) In a previous color system, I was analyzed a Winter (this happened to me!) How will I know if a color is just too much for me to handle?

Others will see the colour before they see you. And their eye will keep being dragged back to the colour. At first, you or your shopping friends may not be able to know they’re seeing this. In the mirror, consider if your head really matches your body.  Is one darker, thicker, heavier, blockier than the other or does there seem to be an easy rapport between them, like they belong together? When we look at outfits we often stare at the fit of the clothes and totally ignore the head attached to the top. Many hairstylists are masterful at this. They stand back and look at the hair creation and have blurred out the face in the center.

You may feel overpowered, as if you look smaller or weaker. You may feel tired. If you’re used to going about in Winter colours, you’ve accommodated this and learned to compensate. It won’t be something you can feel immediately on the road back.

Look for repeats of the colours of the item in your face, eyes, lips, or hair. This is hard to do and can be very ambiguous, but there are women who can sense this. Makes no difference in the world if you can’t.

True Summer’s natural colouring, features, and expression tend to have a gentleness. When they greet someone, they put them at ease. Winter colours won’t give you the feeling of relaxing.

True Summer can look ok in Winter’s light colours. Why not? They’re light and cool, that’s two things Summer does well with. But the iciness of Winter will positively glare on the Summer, while her face seems grayer (and her teeth too – whatever happens to the skin happens to the teeth and whites of the eyes), like her head is 2 feet back behind her body.

Your face will seem pale or tired, perhaps even bruised under the eyes, what you’d see if you suddenly put on a way too dark wig.

The shadows along the sides of the nose look darker in Winter colour, especially the dark colours. That shadow extends up to the inner corner of the eye. Darkness, as you know, recedes, making the inner corner of the eye seem collapsed backward. I believe that our eyes are the focal point of our entire being. Nothing should ever interfere with the other person’s ability to reach them.

When you shop, bring or wear a colour that you know works, a scarf maybe. If there’s a colour you’re not sure of, float your hand over the good colour about an inch. Relax your eyes and just let them take in the youth of the hand, the texture of the skin, the prominence of veins, the redness or wrinkles over knuckles. Hold the gaze for 10 or 15 seconds. Now switch your hand over the fabric you’re testing. Don’t over-analyze. Just ask yourself “step forward or step back?”. Which is the younger, fresher, cleaner, plumper, prettier shaped hand?

Black is a comparison thing just like other colours are, but when you’re seeing true black you know it, as “OK, now this is definitely black.” If you’re sure, it’s Winter. If you’re not sure, it could be Summer’s darkest gray. Summer doesn’t go quite that dark really, but if you need to buy pants, a little too dark but not black would get you through the day.

In Nature, even the darkest shadow doesn’t go to black in the daytime. (For those who have RTYNC, Summer is like noontime light, right?) It’s because of the amount of light, for one thing. True Summer landscapes are always backlit a bit from the sky overhead, despite the sun being hidden behind clouds, or from light filtering in from around or behind the image itself.

Also, maybe shadows don’t go to black because so many colours go into making a shadow. If you held a card painted with a pitch black X inside a True Summer grey shadow, you could still make out the X.

By fanning out your True Summer swatches and moving a pure black shape over it, your eye will pick out why black doesn’t fit. Eyes seem very good at picking out even close saturation differences, which is why black mascara never quite belongs on any Summer face. The viewer sees the eyelashes and then the face, perhaps the goal for believers in magazine ads.

Tina’s Evening Wear for True Summer

This is beautiful. There are light, medium, and dark options. In the purse top R, I usually look for a pink, blue, or mauve tone in True Summer grey, but this one would work fine. The delicate crafstmanship and attention to detail is Summer all over. The long purple in the center is good too, not over-saturated when you enlarge it (because it has a trace of heather, Winter would have none). The white dress on the model lower R, I’m not sure. Polyvore often loses colour and detail on light items. As it is, I think of Winter white because the background is True Summer and see how the dress glares? Couldn’t find a better example of what Winter white does on a True Summer face. The green feathery dress in the center gives me Soft Summer feelings of over-grayness, but again, it’s a fabric issue too.

True Summer Evening wear
True Summer Evening wear by tinabee1967 featuring a rosette dress

 

2) What is the difference between too saturated and not saturated enough?

I’ll let Tina’s Polyvore below show you that. Colour is all about comparison and this is so well done. Winter colours look like straight pigment. You couldn’t talk yourself into dustiness if you tried.  Ask yourself “Do I feel like a sheet of this colour could stop me from moving through it or even push me backwards?”

“Not saturated enough” is a really good point. Where do you tip into Soft Summer? I can’t explain the saturation cut-off verbally. You need your Colour Book swatches.  More useful for me is that colour gets warmer in Soft Summer, not just softer. You can see the slightest overlay of taupe over all the colours, even the blues and greens. True Summer may look coolly grayed but you don’t sense heat. That heat feels heavy, like chocolate milk compared to skim.

Remember that it’s not just a saturation question between True Summer and True Winter.  Winter contains a lot more red.

Tina’s True Summer vs. True Winter

True Summer vs. Winter
True Summer vs. Winter by tinabee1967 featuring peplum tops

 

3) Even when I was diagnosed a Winter before, I loved the colors, but whenever I saw a whole garment those shades, I always shied away from it and picked something “quieter”.  Am I right to always trust that instinct?

The vet in me finds the word ‘diagnosed’ very original in this context, like something you wouldn’t want to have. Is this the subconscious at work? :)

About trusting the instinct: Yes! Understanding that True Summer is too often thought of as lavender and Wedgewood blue and not much else.  True Summer is never in your face, even its darker versions.

Putting more than two Winter colours together could look like colour shock. Putting True Summer colours together looks lovely, like a place you’d want to stay awhile.

And understanding that too much quieter could take you into Soft Summer’s cooler palette, if you see greyness as quiet. I do, and I also see it as thicker. True Summer isn’t syrupy. It’s Jello. It’s silky cool, like perfume evaporating on your skin, like walking into air conditioning when it’s hot out, like feeling cool lemonade slip down your throat after an hour of gardening. It’s comfortable coolness.

Winter is much more serious. It’s more likely to interrupt. Summer colours will listen to you and offer caring advice. Winter may have learned the patience for that, key word, learned, but they still sidestep the emotion. A heart-to-heart on the porch swing don’t fit into its colour scene.

If you’re wearing your Summer items to shop and you try on something Winter, the rest of your outfit will seem drab and dishwater, when it looked elegant and perfect before. When two things don’t belong together, they drive each other further apart. Which is why I can’t see why we’re told to wear eyeglasses that oppose our face shape to “balance” us.  Reese in John Lennon glasses? IDK. What was so bad about our face shape to start with that we need to cancel it out?

4) Some of the makeup selections for True Summer feel and look “dull” to me. What is the best way to overcome this?

Perception – easily among my top favorite topics! I feel the floodgates letting go.

As with all things colour, everything is comparative. Dull next to what? Next to the parrot colours at the counter? Next to Winter colours? Well, you know, so does a True Summer person look softer (no way I’m saying dull, no human being ever looks dull, every colour story is equally spellbinding – do you find Winter people more interesting beings? NO. Nor are their looks.) On a Winter colouring, that makeup would look uninspired. But ON THE SUMMER FACE, they look as balanced and natural and healthy and vital and vibrant as the Winter woman’s do on her. Trust me. I never lie, whatever the cost.

There are too many negative colour associations in the world. Black is slimmer. Dark is stronger. Bold is more passionate. Vibrant is healthier. We even believe some of this. Well, they’re not. Colour doesn’t judge bold or indecisive. It just is. Clouds are not less beautiful than sunsets. They’re just clouds and sunsets and that’s how we appreciate them. We don’t walk in a forest saying “This tree is more beautiful than that tree. We don’t say “A tree in summer is more beautiful because the swaying of the leaves look so inviting compared to the simple shape of the wintertime tree.” They’re all special for the way they grew, the way they are, just because they’re there. People too. Colours too.

Consider it from the opposite side. True Winter’s makeup will look inflated, even bigger and even darker and even redder, on a Summer face. Parrot feathers on a dove does not look good. It’s not ugly. There is no ugly. What it looks like is forever separate. They can’t mesh.  By putting them together, both the dove and the feathers are reduced. They can’t penetrate each other and become one and the same, that sensation women experience so deeply when they see themselves in their most beautiful colours, as if releasing the drape at that moment would lose contact with some long-lost part of themselves they’ve only just found.

By adding to yourself more of what you already are, it’s like using you to support you even more. That’s where real strength comes from, right? It is not out there somewhere. Only you elevate and strengthen the very uniqueness and specialness of you.

Tina’s Personal Picks for True Summer

I have nothing to say that could add to this. All I mean by “a place you’d want to stay awhile”.

My personal picks!
My personal picks! by tinabee1967 featuring a sleeveless dress

 

Colours, Kibbes, and Types

Many of us have been exposed to various colour and style paradigms by now, Kibbe, Carol Tuttle, Jennifer Butler, and so many other artists and thinkers. We look for one colour or image system to have all the answers, but not one of them is all right or all wrong. Each one lets us gather a few new clues our identity. Types, Seasons, Essences, unless the system has 7 billion of them, not every word in any of them will fit any one person. Lines, colours, conscience, thoughts, shapes all feed into our final what? Voltage? Altitude? Energy is a good word but overuse had blunted its meaning. We are energetic beings, each a unique force field emitting one synchronous wavelength, like walking radio towers, receivers and transmitters. And resistors and capacitors, come to think of it. We are beginning to understand what this means and we’re drawn to it like bugs to light.

The Types come from Carol’s Dressing Your Truth system. I love this woman, what she stands for, her face and energy profiling. I’m still waiting to find the video called “What if My Facial Design and Energy Type Don’t Match” – not that I’ve seen that IRL (unless a person is confusing their primary and secondary type), but then I’m a believer that our lines, colours, and personality/character/movement are related, a lot more than I’d say in most company. If I taught colour analysis, I wouldn’t even bring it up. Carol’s DYT has 4 Types.

I may be severing any friendship we might ever have by saying that they correlate fairly well with the broad 4 Season associations that Suzanne Caygill saw, so Types 1, 2, 3, and 4 would remind you a lot of Spring, Summer, Autumn, Winter. The difference is that any colouring can exist within any of the energy Types. Do I agree? No. We moved past 4 palettes because they didn’t represent most people’s colouring faithfully enough. Besides, a Dark Autumn with blonde highlights is not dressing her truth, no matter her Type. Nor is a Type 4 True Spring in wide horizontal B&W stripes. Whatever (probably a keyword for my Type 4). I can get over it for the bigger payoff.

Kate Middleton is a Soft Summer Type 4. Seems paradoxical. Does that mean that either her Season or her Dressing Your Truth Type is wrong? Not at all. It means we don’t yet have all the answers about colour, line, and character in humans. Kate still can find new ways of refining herself and adjusting how she wears her palette.  As a Type 4, perhaps within her Soft Summer colours, she is relatively high contrast and would wear straighter lines because they are found in her body and face, the lines into which her colours were painted. We can be too literal in our interpretations of all these systems when none of them excludes any of the others. They all build on some part of our wholeness.

Gwyneth Paltrow is a Type 4 Light or True Summer (probably). Regal, statuesque, still. Blunt sharp haircuts suit her, especially that chin length razor bob she had awhile back. Her solid wall of yellow hair is probably better on her than the randomness of highlights. Very straightened hair works on her because of the sleek, smooth, stylized Type 4 energy. Straight hair could feel forced and stiff on the True Summer Type 2 whose energy is much more sliding, like drifting in a rowboat trailing one hand in the water. All our answers won’t be together in one place. Each has pieces for the puzzle. We feel our way into whether they fit.

The best thing about what I do is the privilege of being taught by people the world over who share their questions and answers with me. I am truly and deeply humbled by that honesty and generosity. I love talking to my friend, Darren. He’s so sensible and smart, and he has experienced most systems you can name. He can pull together the details and the big picture into real world advice. He said,

What I see is different artists’ take on the same subject and from different angles. Everyone has their spin. Personally, I don’t have the time or the money to try to include every color in every palette that I have so for the moment I’m sticking with Jennifer Butler’s, if not just for the sake of self discipline and to see how creative and far I can stretch myself within those parameters. In the end my goal is that everything will eventually fall away and I will learn to trust my own eyes and my own inner guidance completely. I mean think about it. We both [all] artists in our own right with our own way of seeing the world. [Butler, Kitchener, Taylore Sinclair, Suzanne Caygill, Bernice Kentner, Irenee Riter, ]and on and on… they are just people like anyone else.

So I guess what I’m saying is that these people are great at pointing the way but they can’t take the journey for us. We all have to do that ourselves. In the end we have to do what it takes to make ourselves into who we would like to see, lose our own weight, and accept our own limitations, and be OK with it. At some point we have to accept that we know enough to relax and just be. Who wants to spend all their time trying to figure out what to wear so they can go shopping.

 

I wrote RTYNC, the book pictured on the right side. I get told “I doubt my PCA because my personality is off from what you wrote.” Don’t do that!!

I get told “Wearing my colours as exotic or tribal feels all wrong on me. Does that mean I’m not Dark Autumn?” NO!!! Trust the analysis. I painted word pictures that feel right to me but they cannot possibly apply to every Dark Autumn, all 7 billion divided by 12 of them.

I see women asking ” How can I have dark hair and be Light Summer?” But it’s relative. Your hair isn’t dark compared to 95% of Winters, it’s just darker than many Light Summers. We know our hair colours aren’t necessarily in our swatch book. Doesn’t mean it’s suddenly inconsistent or that your analysis was wrong.

In our truths lie our strengths. What is true about you is what is strong about you. That’s why it feels so important to look for it.  In our untruths lie our weaknesses. Which is why looking unnatural, like you could never have happened that way without really interfering with Nature’s plan, communicates to me as scattered energy. Real and right looks grounded and therefore strong. If it ‘s true that allowing ourselves to behave with false words and actions makes us weak, and it is, how does it not follow about our appearance?

So, do dark Summers look good in black? Not to me because black communicates absolutely nothing that is true about them. Not unattractive. You are never ever that. Besides, it will make the rest of your clothes in the colours that actually look beautiful on you suddenly appear old, tired, and sort of defeated, as will the skin tone. And will your dearest friends or salespeople tell you this? No, my sister, they won’t. The purpose of a compliment is to make you feel better, not to share truth. Wait 6 months and show them a photo of you in black and you in bluewater grey, they won’t pick the black.

Below, a YouTube DYT video on how the 4 Types wear red lipstick. It’s a beautiful comparison of these two women, mother and daughter, both embracing their individuality, with a “I’d have you no other way than as you are.” connection that you wouldn’t find among many adult mothers and daughters – and I bet these two wouldn’t have found, had Carol not developed her energy profiling. I believe 100% that every mother should read Discover Your Beauty Profile and It’s Just My Nature so her children can live acceptance in their home and know how to live it out in the world. How we should all live, all the time, not just with family.

Also, if you’re a Summer, watch more videos with Anne. She dresses beautifully for a Summer, mostly True. See the flower, the crystal in the necklace, the great great base hair colour (this is lighter than many a True Summer, Anne may be a Light, but it has the essential ash tone needed for the skin to bloom and look young). She talks about how Type 2 does dramatic lipstick right. The background would actually be a good lip on True/Soft Summer. See how Anne feels part of it while Carol looks Cut&Pasted in?

 

 

Unlearning is harder than learning. There was a time when we didn’t hold ourselves up to any standard but our own. And then the fight went out of us, media got too big in our  minds, but we can remember the simplicity of those days. We see it in our children. It’s time to go back there.

My Summer friends tell me they want more ooomph, they feel so blended. Tina brought up a great point about yellow in hair. Unless you came by it on your own, not only is it too yellow against your skin, it’s too light. The dewy deep pink blush goes out of your cheeks and you live in a NoRightColourLand between True and Light Summer. Once the hair is back to its natural darkness, the makeup intensity can go up to balance that, right to where it should be. Your colours have all the ooomph they should have on your face. In a hairstyle that looks loose and released, you bring your lovely grace to a room with no soldier overtones to mix us up. Fundamental to Carol’s teaching is “I can love me enough to be me, and I can love you when you give yourself the same permission.”

I’m not always a very good friend. Not good at making calls, making time. Not even a very good wife. My husband and I both married the strong, silent type. True Summers number the highest among my best friends and trusted counselors. There is something in that character that I need, that we all need.  The higher tuning of their heart brings balance to the higher tuning of my head.  They’re like the bed of roses I can fall into, finally exhale, and feel safe. Please don’t disguise yourselves. We’ll still see you but won’t understand why you’re retracting your gift. You are everything that the word Grace means on Earth, one of the most powerful words in any language.

We communicate so much more by our appearance than our words. What others sense is how synchronous our cumulative energy is.  Call that energy whatever term pleases you, it represents everything about a lifeforce that is more than just a body. We all agree that we can feel something bigger in ourselves and others than the space we take up. We are the size of the space that we have presence and influence in, the meaning of expanded consciousness. The Sci\ART colour analysis is an accurate measuring tool that taps into one of that realms. Your perfect lipstick is only the beginning. Who could feel the door to their best self open and not be speechlessly drawn forward?