Still happening. Bright Winters are walking in the door with so much to teach us.
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.
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.
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.
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.
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?
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.
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:
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.
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.
Excellent Q from a reader:
I’m a Bright Winter and have always felt that I had cool undertones to my skin but also have some freckles which makes it less obvious. Â When Prescriptives Cosmetics was in business, I tested as having Blue Red undertones and I used their foundation with cool undertones for years. Â I recently decided to try Bare Minerals foundation. Â Two different people who sell this brand have tested me as a Neutral undertone. Â This could make sense since I’m a neutral season but I’ve always known myself to have cool undertones. I have a little bit of a tan right now. Â I’m not trying to tan, but I play tennis outside and despite my sunscreen I get a bit of color. Â Would it be possible for me to seem like I have neutral undertones in the summer when I have some tan and then seem to have cool undertones again the rest of the year when I don’t have a tan? Â I’m just wondering if I should wear a neutral foundation in the summer and a cool foundation the rest of the year.
Your undertone is fixed and determined by your genetics, and is shared by all your colouring including your tan. Your Season doesn’t change with a tan, though you might have different colour preferences, for the higher contrast with the lighter choices, for instance. Many Bright Winters can find black too severe or their coolest colours too shadowing, and a tan might change those tolerances enough to feel more comfortable.
When you’re tanned and look warmer, the undertone might seem warmer. Whatever undertone means, it doesn’t mean ‘overall feeling and effect’. This is one of those “It looks warmer and feels like it should be warmer, so therefore it is warmer.” conclusions that are not necessarily sound.
Even pure cool Seasons can tan very golden looking. They look more yellow, but when their colours are tested, it’s still the same cool yellow their genetics always produced. They may have more melanin, which contributes red, brown, blue, and/or black, depending on the type of melanin, but it’s the same colour of melanin that it always was.
PCA determines where your inborn colours sit on 3 scales. Every colour, every body part. (In illness too? IDK, I’ve never draped a Before/After and don’t know anyone who has).
The heat scale. Warm/cool/neutral? Neutral on the cooler side, the warmer side, or 49/51 between fully warm and fully cool?
The saturation scale. How concentrated were the pigments that you were painted with? Very, or were they a little more dilute?
On the darkness scale, you don’t have a setting so much as a range. Do your inborn colours go all the way from white to black? Only 1 of the 12 does, the True Winter. I’m a Winter but don’t reach fully to pure white. Mine is a tiny bit dirty white. A woman might hug chalk to pewter. If she wears black mascara, it’s railroad tracks because it’s outside what her natural colouring can balance. If she over-lightens her hair highlights, it will never look natural or real because only processing could achieve that much lightness in her body.
The hair of a yellow haired Light Summer can seem very yellow. She’ll go online and get told she’s a Spring of some sort. A clerk will give her warm foundation. Wrong. Unless they measure it, how could they know that the yellow in her body comes from Light Summer’s less saturated and subtly cooler palette, not Spring’s?
A salesperson has no way of measuring people’s settings on the 3 Colour Scales. Even the most experienced colour analysts canâ€™t eyeball the settings.
Depending on how the line of products they’re selling is coloured,
(do they have access to foundations warmed by Spring yellow and Autumn gold separately? as we know, warm can include yellow, beige, peach, orange, gold, brown, etc.)
(are those bottles labeled cool/warm/neutral really so, and in the same way that a colour analyst means it?)
(is there consistency in the cosmetics industry regarding pigments and terminology? if not, one company will call you warm, the other will say neutral)
(is the salesperson highly discriminating, nitpicky, rigorous, fussy, and particular? these are the people you want; I’ve been foundation-analyzed by the head of training for North America for a huge company within the last 6 months, the result was not good)
…a cosmetics salesperson could separate cool/neutral/undertone by matching foundation. The same foundation colour is the best match on the same Seasons in 3 in 5 women of the same race. It’s just not rock solid.
Foundation is a mixture of your heat level, darkness level, inherent saturation, plus surface pigments. As Dark Winters (my assumption), Mrs. Obama and I have the same heat level, darkness range, and saturation of inborn pigments. She has more melanin but it’s the same colour as mine if we test it. She has more melanin in the outer layer and wears different foundation.
Big Disclaimer: I made up all of the above. That’s only how it makes sense to me. I do not know what undertone is or where it is. Is it a layer by itself that you could isolate and dissect out of the skin? I doubt it. Is it simply the difference in people’s hemoglobin? IDK. Is it just a mixture of all the body’s pigments, if you poured equal amounts together in a bowl and stirred, bluer in Summers, redder in Winters?Â Does it even have a colour or is just a gray that’s cool, warm, or neutral? I don’t know and am not aware of the scientific testing that offers proof. This is one of my remaining Big Questions in PCA.
I am pretty certain that what a makeup company means by cool-neutral-warm is different from a colour analyst meaning. One story is probably part of the other one but they don’t fully overlap. We’re all using the same words to mean different things and consumers can’t sort out the facts. Therefore, the Q above would also be a good one to ask a cosmetic pigment expert.
I do not change the heat level of my foundation in summer. I do use a product that sits darker in my own darkness range. Both products are cool neutral on a heat scale.
The answer to the reader’s Q is one of those It Depends. Theoretically, she has a cool-neutral skin undertone and will always wear that choice in foundation. However, depending on where she finds the best foundation match, it might be labeled otherwise.
Remember. I invent answers to these questions till I can live with calmly.
Here is an excellent question from K, one that I am asked often for most Seasons as some variation of,
Should All My Colours Be Equally Good?
In K’s words,
My question relates to the darker and cooler colours of the Bright Spring palette. Bright Spring was clearly the hands-down winner in the draping, so I don’t doubt that. However, despite really enjoying wearing the lighter and brighter shades in the palette, the cooler and darker shades seem “heavy” or “draining” somehow – the lighter ones seem to reflect more light off my face and “brighten” me up more. The darker and cooler colours also feel too serious or something. I am on the warmer side, so perhaps this could account for it…
I wondered if the darker colours were only supposed to be used in smaller blocks, or intermixed with the lighter values, in order to brighten them up? Or, should all of the colours in the palette look equally good in a large block under the face?
I also feel better in warmer, sunnier makeup, again seems less serious/formal than the cooler shades. I have tried to wear some of the cooler fuchsias as lipsticks, and it feels overdone and constrained somehow (although I do recall your comment about winter makeup being like housepaint on spring, so perhaps even if it’s a swatch match, the heaviness of the pigment/texture could throw things off)…?
These are good questions with some answers that apply to all persons of any Tone. Each woman and her own natural appearance will refine other answers. There is no one-size-fits-all when there are only 12 groups.
My first thought when I read the Q was, too dark for what? From K’s question, I take it that she’s asking about wearing the darker colours in large area, as she says, rather than whether they’re too dark to wear at all because they fall outside her own darkness range as a person within that Season. The second option can’t be it because the drapes measured her value (light/dark) range. They measured her heat level (hue) and chroma too. The Season is the name given the hue/value/chroma settings that she is herself, or the best harmonic match.
Think of your palette colours as the paint puddles on an artist’s hand board. They are the colours you will use to make an abstract painting.
No rule tells the artist that she has to use equal areas of each colour. The size of the colour elements in the painting will vary widely unless your composition is intended as a tablecloth of equal sized blocks. Thatâ€™s not wrong. It can still have interest, emotion, and mood. But most of us don’t dress as coloured checkerboards. It feels somehow limited in the mind, restricted instead of expansive, not expressive of who we are as individuals. Our clothing choices tell others our story. A checkerboard is like a spreadsheet of us rather than a picture of our beautiful spirit.
could be good on an Autumn; I owned a T-shirt like this once, it was great
Every colour in any painting has a presence regardless of its surface area. Without that one thin black line, it’s a different painting. You notice one tiny yellow sail on one tiny boat in a big blue ocean landscape. You notice a woman’s nail polish or a miniature diamond within seconds. Could be the little areas attract more of our attention because they take more effort to be noticed.
We are not one block of colour to look at.Â In the eyes of others, we are the entire colour palette, every colour, all at once, all the time. Fan the thing out. There. That’s what the rest of us see when we look at you. Extracting one colour and wearing it as a solid block doesn’t repeat any person perfectly. Â The colours that are most natural and instinctive will be the ones that work best alone in large blocks. Though everyone has maybe 10 that are fantastic, the best of the best might be
- the undertone colour or close to it, like yellow orange on True Spring, or mulberry on Dark Winter
- Â representing the primary colour dimension, like antique mauve and silver smoke on Soft Summer
- sometimes repeating an eye colour, like flame gold and hot, rich green on True Autumn
- sometimes exemplifying the feeling of the Season, like bright and energetic on Bright Spring, or blossom colours on Light Spring
- the complement to the core colour, as purples on the five Spring-influenced groups, or a combination, such as periwinkle on Light Summer, that holds the blue of Summer and the purple of Spring and is heartbreakingly lovely
- and sometimes it’s beautiful and I’m not sure why: True Summer in soft fuchsia, watermelon red, or rose petal, with dangly, swirly silver earrings is plain gorgeous.
True Spring; no bold lines, the blocks are distinct by colour divisions; not misty, earthy, heavy, bold, geometric; instead, this is energetic, hippie, fun, busy, buoyant, and natural (where natural is not the same as earthy)
On a Bright Spring, the pure, fresh, spanking new colours will absolutely look better in a single block under the face than the business suit colours, even better if they’re shiny. Of course, they do. It would be odd and worrying if they didn’t. Bright Spring is defined by brightness and a good measure of lightness. It is expected that those types of colours would be automatic and easy. Bright means bright by any connotation of the word, including light, upbeat, clear, and vivid. Bright means intelligent too . Â Revlon Colorburst gloss 046 in Sizzle contains everything I mean – clear, intense, purely pigmented, just enough red to have kick. Every Bright Spring I know would be great in it.
Light colours are extremely visually attractive on Light Seasons. That’s the whole thing about that type of colouring. Light means light as buoyant and airy too. When you see dark colours on a Dark Season, conversation hangs for a few seconds. The mind is preoccupied with seeing. The Most Important Thing, TMIT, is not just most important for technical reasons. It’s also very organic. A colour-analyzed appearance is appealing to our intellect and intuition equally. The right and left brain hemispheres are equally fulfilled. For a second, the satisfaction is so high that nobody talks, like the first spoonful of dessert or sip of your favorite coffee, where one sensory system is 99% engaged.
Bright Spring; as busy or quiet as you like; more dark colours and/or small areas of black contribute to an overall darkness level that is darker than True Spring; Â pure pigments, still happy, bright, and fun; Â the composition speaks of movement, the colour blocks remain quite distinct; modern, clean, and stylized, less natural than a field of daisies or a wheat sheaf, more energy than a lily pad
The darker colours of the Bright Spring palette will not turn the person yellow, pale, shadowed, or otherwise distorted as colours of other dimensions, found in the other 11 Seasons, did. Worn alone, their mood may be too somber for the natural appearance. The feeling we attach to neutral colours and dark colours has more gravity than do the light and bright colours. For this reason, Bright Season people tend to look better in the shiny version of their colours than the matte side of the drapes.
Bright Spring contains Winter and that presence is important. When Winter steps into the warm Seasons to create its four Neutral Seasons, its effects are less subtle than when Summer steps in. The cooling and darkening are more noticeable. You can tell in the person. They look more contrasting, though not necessarily dark. Some aspect of the appearance or character may be exaggerated, like strength of eye colour, the sharpness of the planes of the face, sweetness on a dark person or intensely goal-driven tendencies in a light person.
William Shatner was like a True Spring Captain Kirk. Willing to be childlike and funny, with rounded edges. You’d be safe if you met him at a party. Chris Pine is the Bright Spring version. Edgier, more aggression, more contrast in the colours of eyes and coolness in skin, and you’d know to lock up your daughters. Point is, Pine isÂ missing something if he dresses too safe. He needs the cooler colours and the darker colours to activate the bright, fun colours. Otherwise, he’s a boringly inauthentic version of himself. This applies to every Bright Spring I’ve ever seen, and I’m certain that includes K. Wear the cools and darks. Choose small areas but don’t leave them out.
Bright Winter; Winter’s presence is darker, sharper, balanced, and less reachable; for all Brights, the light element is clear, large, and holds the prominent interest and mood; the lines express the teardrop shape of Spring; this woman has a logical reason to flip up her eyeliner at the outer corner
What about a Soft Summer woman in a long navy dress? Â Even if it’s her navy, the dustiness really needs to be completely obvious, it’s TMIT after all, or the full impression risks being darker than she is. Her body will seem small in comparison to her neck and shoulders. The navy may even start looking darker than it is. The whole picture is like a willow tree top on a black flagpole. Thinking, “Well, I can see it’s muted where the fabric is sheer…” is not near muted enough.
As an aside, I can’t talk without them, you should try shopping with me, that straight solid vertical line says Winter to me, for no logical reason. Winter always feels like solid, still equilibrium. Solid, but not earthy. A marble statue is solid but not earthy. A pharaoh is solid and a little earthy. Maybe that’s why I keep the pharaoh visual in my head when I put on Dark Winter and True Winter eyeliner. Geronimo, Chief Tecumseh, they’re earthy. A Grecian column is still, neither earthy nor energized. It just is. None of them makes sense with flipped up eyeliner.
Back to the navy dress, with a silver gray shawl, sure, could be fine, but if the colour really is the darkest option in the swatch book, this is not the most beautiful painting I could put under a Soft Summer-coloured head, no matter how light or dark her hair colour.
Soft Summer is about this dark to look at
About the colours you saw yourself in during the draping process, where some looked more captivating than others:
The Test Drapes are not intended to be colours you buy, at least not the drapes that the new colour analysts from the training course are receiving. They are intended to be a little, hm, obnoxious. Terry and I looked for a colours where the other contestant colour would not be worn well, if at all, by the same person. The analyst is trying to make a decision, not suggesting you’ll be wearing these colours. If you’ve draped real human beings, youâ€™ve seen how challenging these decisions can be. The drape colours, and you have many in our Test Drapes, push the extremes so the analyst is most supported in making the correct choice.
Dark Winter choices; top, bold colour in a neutral background ; middle, warms and cools together; lower, more colour, use of undertone colour, small areas of Â intense heat, spans white to black
The Test Drapes also allow the client to see who they’re not. I can babble on about saturation till the cows are home and fed. When my client understands what to never, ever put down $ for again happens when she or he sees the colour in textile. She develops a broad understanding of what Winter colours really look like, what pastels really are, and what muted actually means. If the drape colours are focused on being oh, so pretty, they can end up too similar. Wrong decisions might slip in.
True Spring; use as many or few colours as you like; the effect is sunlit, warm, natural, alive, moving, changing, safe, joyful
The Luxury Drapes and your swatch book colours are not ponchos. They do not look equally perfect in equal space under your face, though other analysts might disagree or have a different definition of perfect. **They are equally wearable without warping the overall harmony.** That is how they’re special. They allow you to narrow down to 1 out 12 the colours in the store that you have to choose from. In fact, they contribute with gigantic importance to the final harmony.
Four to eight of the colours are magic. At your analysis, they might not be the same 4 to 8 as the next woman of your Tone, though once an analyst gets used to her drape set, they usually are quite reproducible. They could be different between Sci\ART analysts, all of whom have different drape sets, so any two analysts would name the exquisite and confirming colours differently, as would the women you chat with online. We can say that none of the colours detracts in any of the ways your face demonstrated in wrong colour during the analysis.
Light Spring; you can feel the blouse, the texture, the scent, the necklace, the highlights; how lovely to Â be in the world and look like this
We can’t wear head to toe magic colours. A painting in only magic colours is both mundane and insane with nothing to set off the magic. We literally need grounding, as in ground colours. The rest of the colours take part in dimensional compositions that create a scene. They set up the lighting, give the eye a place to rest so it can take in the actors and the action, arrange the music almost to the point where you can hear a single note throughout the composition. They match and support the plot.
Dark Autumn; small areas of black; no white; a parchment effect, a bronzed impression ; corners; bold elements without being a modern geometric; more natural than modern/synthetic (which is Bright)
Really, colour is only definable by wavelength. Nothing else.
Colour as we see it is a massive optical illusion.
We cannot even know the truth of a line until we see it in its real colour. The real shape of a face, for instance.
That’s why the room goes quiet when the colours and the person connect, when the magic snaps into place. Because we need a minute to absorb what our eyes see and admit that before, we never saw what we were looking at. It’s a “So this is what she really looks like.” moment. Somebody might laugh. In the brilliant Cluetrain Manifesto, David Weinberg said that laughter is the sound that knowledge makes when it is born. The lens just focused on that human being. Once the colours and the person are on the same wavelength (literally), the full force of their nature is brought into the light (literally).
Light Summer; quiet grace, the optimism of the flower, swirly, no black lines, more colour or less colour is up to you
Whether your colouring is lighter or darker matters some, depending more on what your eye likes to see if you were looking at a woman who looks like you, rather than any rules someone sets down. The overall darkness level of the painting is nice when it’s the same as yours.
Your inherent contrast level – how big is the colour jump between your own big colour blocks, eyes, skin, hair – matters a little, but I think people get too hung up on it, at the risk of looking like they wear the same thing every day. Your Colour Book is like a 16 lane highway. Narrowing yourself down too much is like only driving in the middle lane. Â I don’t see being too careful about this making much difference for the better. You probably look better and more interesting than you think you do, in more colours than you think. If you are more medium in overall contrast, then insert a medium block of any size. Spend time expanding yourself to use your colour-analysis swatches all the way to the ends of every strip. Get out of the middle lane and try an off-ramp. It will be good.
True Summer; says who, water has to be blue? It can be silver gray, hydrangea purple, light misty blue, and cloudy day dark gray, better at the same time.
The warmth or coolness of your position in your Season does not affect which colours look better in clothing that I’ve ever seen. I actually like when warms and cools are worn together by Neutral Season people. It looks interesting, imaginative, and artistic. It gets that “How did you know how to do that?” thing going.
Warm or cool side colouring within a Tone can play a role in cosmetics in some people. Â Cosmetics are less predictable because they sit on your face and mesh with your internal pigments to result in a mixed colour. The same lipstick doesnâ€™t look identical on two women of the same Season. The Seasons are too broad for that.
This aspect of your colours needs a little experimenting and custom-choosing, one woman at a time. Your Season is your center of gravity, which doesn’t mean you can’t move around without tipping over. Women often start where they’re most comfortable. Within a year, they decide to try an old too-cool lipstick again before they give it away and wonder, “Why did I think this was so bad? Why was it planted in my head that it is dark and purple? It’s neither one.”
Soft Autumn paintings; more Autumn geometry on top, great boots, an excellent handbag, a warmer overall feeling; in both, beautiful use of texture; bottom, an interesting way to bring in blue, as a pendant on a necklace
I sometimes wonder if we look for too many rules. Is there a line where we want to be told every aspect of how to dress, or how we do anything, by someone else, so that we don’t have to take on any responsibility for it ourselves? I’m all for getting advice on hair colour and makeup from colour analysts and other advisors who have a critical approach to colour and our appearance.
But there’s a difference between asking, “What looks good ON me?” and “What looks good TO me?” Â I can talk lipstick into the ground. What I love way more is the woman who tuned me out awhile ago and is thinking, “What would MY eyes like to see?”
True Winter? No. Too safe. This is nowhere on True Winter.
True Winter? Still no. Too much outward energy. True Winter is the Earth, and often a person, turned inward. For many Winters, empathy is a learned quality. Pent up energy, surging outward, but still cold, is Bright Winter’s feeling.
True Winter. The whites are so white, they’re blue. The black is the pitch of night. The number of colours is 1, elevated and undeniable. The feeling is contained but not gentle. This energy form is hearing its own rhythm.
At what point we insert our own opinion differs for each of us and no answer is wrong. The women and men who read here are brilliant and very far from being doormats. The fashion industry has made easy prey of us all. I get confused too and ask my kids what looks good on me.
I just wonder if we women have gotten so used to being told what to do that we’ve learned to like it. It’s easy. It’s familiar. It’s the devil we know. It would tick everybody around us off royally if we announced that from now on, we will think, choose, decide, and undertake on our own. Problem is, it keeps us stuck in someone else’s vision.
For me, beauty exists when I recognize the natural world I live in. Maybe that’s why I don’t find a lot of little detail attractive on certain types of natural colouring. We don’t see small detail in the dark (Dark Autumn and Dark Winter). We don’t see intricate detail from a distance (the 3 Winters).
I would rather you have hair colour and makeup in opposition to every word I’ve ever written a million times over before you let someone else tell you what you think. Or worse, what you feel. My answers, anybody’s answers, to how you wear your colours can only take you so far because they are neither right or wrong. Ask yourself, “What feels good TO ME?” Only there can YOUR right answers be found.
Anyone who knows what personal colour analysis is, rather than what it was, lives with a growing sense of how well it works and how much it can improve your choices. The system divides human colouring into several groups, 12 in the one that I use. Since there are far more than 12 kinds of colouring once you get into the subdivisions, not every aspect of each group will apply equally to every person in it.
As you find your private garden and arrange the flowers and furniture to suit you, you ask some excellent questions. L sent me this,
Â Â I’ve been very happy with my Soft Summer colors and they’ve made a
huge difference overall. The issue is though, that my hair color is just so
much warmer than my palette that many of my neutrals don’t look that great.
I stopped coloring my hair a couple of years ago and it’s neutral medium
brown at the base and the lengths are quite warm, perhaps a light chestnut
color would be accurate with even lighter ends.Â This warm brown just
doesn’t look that wonderful with all the grayish-taupes which make up the
majority of my neutrals. As an interior designer I wouldn’t put these colors
next to each other, so it bothers me to do so when getting dressed.
According to old pics and my mother, this is my natural color. I had
forgotten that since I’ve been coloring my hair for over 30 years. I’m just
tired of trying to use toners and shampoos trying to cool it down.
I’ve been looking at other companies SS and Summer fans and found wonderful
browns in the CMAS Summer fan, and Lora Alexander’s (www.prettyyourworld.com) Soft Summer fan.
I was just curious about Sci-Art’s and your opinion about hair not being that
great with the palette since you cover it during the consultation.
Overall, I’ve discovered that I lean a bit warm within Soft Summer and I
really wish [the present palette] would give a wider range of neutral browns. I
own the Soft Autumn fan and I don’t need to go that warm, but just a bit
redder, rosier than my [present] fan.
Neutral to warm? Neutral to cool? Who knows? We’ll have to measure it somehow. That’s what the drapes do. Our eyes alone are not able without imposing some errors, because of how eyes and brains work. And because of the most misleading thing of all…assumptions.
Many of L’s comments could apply to all the Seasons fans. In any Tone, the likelihood of including even half the possible hair colours is less than 50/50 since hair colour is only moderately tied to Season. Why is that? My guess is that it’s because hair colour comes from melanin. Skin colour comes from melanin, hemoglobin, and carotene. Hair colours are an incomplete version of our truth, though what’s there is real and harmonized with us nonetheless. Just not detailed enough to do a PCA with. Hair also doesn’t change enough in response to colour to take accurate measurements. Skin tone does, therefore we use it to guide a colour analysis.
Soft Summer doesn’t tend to vary as widely as some but it certainly ranges in darkness, though it remains on the cool divide of neutrality. In all 12 Tones, eye colours seem to me to be more closely resembling the skin colours contained in the colour analyzed swatch palette, and yet they can appear very warm in persons of this Season. Test them and they still have the best energy in the cool-neutral Soft Summer drapes, not the warm-neutral Soft Autumn drapes. Why isn’t eye colour tightly linked to Season? Similar reasons to the hair, adding in the Rayleigh scattering that makes the sky blue, and other aspects of the physics and biology of an eyeball, such as how it’s pigmented, where its blood layer is located, how it reflects light because it’s in a water-based jelly, and many other factors.
Soft Summer eyes can be darker, lighter, warmer, cooler. As long you give them what they care about most: colours that are soft.
A warm-eyed Soft Summer must mean that though we see lots of warm colours of yellows, golds, and oranges in the eyes, these are present in their cool-neutral versions and are outnumbered by the greens, grays, and blues of Soft Summer. You would think the two Soft Seasons’ yellows and golds to be quite different until you try to harmonize a colour palette and realize how close they actually are.
Soft Summer is also a Season where the Neutral persons are often quite warm, on the 49/51 divide between the Soft Summer and Soft Autumn. An analyst needs to be on her toes and own a seriously good set of drapes. They say that our hair and eye colours are among our neutral colours but I agree it is so if you know the real colours of your eyes. If you match what you think you see, which is never what colour really is, you’ll go too warm for your skin and turn yourself a little dull and jaundiced.
Whoa now, that’s a Winter eye! Same colour family, cool-neutral hues, similar value level (lightness/darkness), but what’s different? That third colour dimension. And the type of heat, which appears more Spring-yellow than Autumn-gold. Whole different feeling.
How can True Winter or Light Summer be a redhead? Combine their yellow and their red, I would think. Every Season has both in their own versions. The hair tends not be orange, it’s redder than that. But both have yellows, nearly primary yellow in Winter’s case, which is why their green drape can look so yellow in some situations.
L. is colour savvy enough to sense the best solution, which is to move very slightly to a warmer place without losing the harmony. Soft Summer skin is happy to negotiate on warmth of hue as long as the colour stays soft and dusty, not intensely saturated. In my Sci\ART drapes, there are 3 drape colours, identical fabrics, that are used in 2 places. The Soft Summer and Dark Winter burgundy red test is the same. The Soft Summer face is not as flattered as it could be. The client notices that. Seeing the difference is a better learning opportunity than if I just babble on about colour dimensions, because the client sees that she needs to buy dark&dusty, not dark&densely pigmented, and that darkness is not her shopping challenge issue. Saturation is. It’s a strength of the drapes, not a weakness. Makes me now wonder if I should put a few ‘don’t go here or here’ among the Test and Luxury Drape sets that I assemble. But no, you saw those during your 12 Tone colour analysis session.
Ah, back to Soft Summer eyes, neutral but cool, and soft soft soft.
Only dyed hair is, or approaches, all one colour. Natural hair has many colours to make an overall tone. You might see one colour but the rest of us don’t. Â How it reflects light and shows its colours requires its true colours to reveal the correct tones. Soft Summer has a drop of gold in her hair, not yellow. She is not a great blonde. A True cool Season in even slightly warm clothing or makeup has yellowed, dingy colour. If it’s silver hair, it looks like smoker’s yellow-gray instead of their beautiful clean silvered gray. The foundation colour must be accurate, hard to find in today’s overly yellow base makeup selections.
Others don’t see the discrepancy in our hair as we ourselves might. We don’t see hair as an object of one colour like a wall or a pillow. You might not pair those objects but they’re not coloured with hemoglobin, carotene, and melanin. We sense that living things are Â not coloured in the same way as objects, and that man-made objects are Â not coloured in the same way as Nature’s inorganic objects. Despite the difference, we are able to find the harmonizing colours and the relationships between them, as us and our clothes.
We can bring colours into our harmony too. Because it’s applied to our face, makeup interacts with the pigments in the skin. A lipstick that swatches on paper as Light Summers might fall flat on some Light Summer and be lovely on some Light Springs. This is called Making The System Work For You. Clothes don’t change so much. No question, in the same way that the drapes have an effect on us and we have an effect right back on them, so do we change our clothing colours somewhat, just not to the extent of makeup because of how it’s used. A Bright Winter can change True Summer’s beautiful, cool yellow into a grayed piece of cloth that’s been washed too many times.
What kind of eye is this? Soft or saturated? Neutral? How Neutral? Spring’s yellow heat or Autumn’s gold? Of the 3 colour dimensions, which one matters above all? Â I have no idea. This is why I can’t look at photos and know Season. I have no comparisons and no ruler. All I can say is what I always do, whether I’m shown a photo or a real person in front of me: “Could be this or could be that.” If it’s a real person, I can say, “Where’s my drapes, lights, and gray background when I need ‘em?”
L. knows that I would never advise any woman to colour her hair ever. Her natural colour will always be her best colour. Sometimes we can decorate up a little and keep the balance, and that’s good too. My advice is to save herself the time and money and wear her natural hair. Once Â her hairs grays, she’ll only look better. Gray is what the Soft Summer does better than anybody because gray is inherently cool, as they are, and they start off with more of it in the natural colours that define them than the other colouring types.
If L.’s discerning eye prefers to warm a few of her clothing browns, excellent. She has to feel well in what she wears. There will be no repercussions as long as the harmony is maintained (more on that in Getting More From Your 12 Tone Swatch Book). There would be more substantial repercussions if she tried to alter her hair colour.
What about L.’s question about the colours present in the Sci\ART palettes? Without stirring up a nest of hornets that have finally gone to sleep, I’ll take a guess. Only a guess. Please don’t come after me on this, I have no valid opinion to offer so I won’t say much. I do not know what was in the head of the person who designed the palettes. I’ll take a shot: As I understand the history, at the time of her passing, Kathryn Kalisz was adjusting the Season palettes, as she probably did a few times over the years for different reasons. She deeply wanted people to feel comfort in their colours, but some of the feedback sometimes said that the colours were too much, probably more in the saturated Seasons. Part of the reason for the choices may have reflected this, though I doubt it was the bigger part of it in this particular instance.
There was (is) also the question of whether the Neutral Season colours should be closer to the parent Seasons, as Soft Summer to True Summer, or to the other Neutral with which they share the most important colour dimension, as Soft Summer and Soft Autumn. Is one right and one wrong? Does there need to be a hard rule? I would say No and No as long as the dimensions of each Season is respected, though I’d be thrilled to talk about it. Where does one cloud in colour space end and the next begin? Is there an overlap? How big is it, what’s the rule? How big should it be, different question? You have thousands of colours. Maybe one day, someone will make 4 Colour Books of swatches for each Tone, not just 1. Smart woman that L. is, she found other options that contained what she was looking for and she knew how to select those that applied to her.
This completes my long-winded way of saying that L. made great choices and decisions on her own Nothing I love better than a woman empowered to work through the many choices about her best self, in any context, and come out right. Discernment is a beautiful thing.
I met with Chantal* and Rita* within a month of each other.
Chantal’s hair is cut in a short, wash and wear style. The top layer is very yellow, while the hair beneath is medium-dark brown, entirely natural. She is in her late 50s and will probably still have yellow hair in 20 years. Makeup took away 15 years and showed us a very defined bone structure, with high cheekbones and a nose that tips up at the end. Her expression is focused, questioning, and very alert. A personal colour analysis (PCA) long ago said Spring, which we agreed seemed reasonable. She loves colours. Where most women arrive wearing black or no-commitment colours, she had on a lovely green blouse.
Rita expected to hear Light Summer. She does appear fair, with blue-looking eyes and medium brown hair, coloured to a red-gold colour that works surprisingly well, a bit like rose gold jewelry. Although seemingly light of skin, hair, and eye, it was something about her expression and the shape of her features that put the geisha image in my head. Young, exotic, yet apart, on a Caucasian woman in her 40s.
These women have a lot in common. They live practical lives and make practical choices. Both are sensible, serious, organized, quiet, thoughtful as in pensive, and introspective. Neither is rapid in their movements, impulsive, random, giggly, youthful (except to look at), overtly cheerful, or chatty. Nor are they blunt, direct, or sharp in the slightest. They are very polite, pleasant, and hold their cards close.
On meeting them, the impression is light and warm, except that the intensity of the eye in the face is compelling, rather than blending evenly into the face and equally with the other features. The eyes seem like ‘more’. This is not an impression I get from the brown-eyed Bright Spring, maybe because hair is usually darker and the overall look is more balanced.
In the world of 12 Season colour analysis, the natural colouring known as Bright Spring takes its pigmentation from the Spring qualities of colour (warmed by yellow, pure colours, not very dark). Winter has a little say, causing the colours to be cooler, redder, bluer, darker, and even more pure than Spring alone. Bright Spring is a colour rush.
Accepting Bright Spring, or any Season, from the draping is usually easy. It’s a done deal by the time we’re finished. 9 in 10 people can easily see their appearance change. It is what it is. The makeup is harder to accept. The conundrum of “I don’t recognize myself.” and “That woman in the mirror looks fantastic. Why is she acting like me?” takes time to sort out internally.
The book RTYNC (in the right column) and the documents I send clients Â (similar to the book, but they continue to evolve as I learn and widen my own experience) suggest that Bright Spring looks most consistent with their natural appearance when they dress as activated, energized, bursts and squirts, crazy zigzags, a sunny morning after a freezing rainstorm,
combined with the delicate, a chandelier, gold foil, tinsel, cinnamon heart candies,
and the young,Â a large or small shiny coloured purse (Bright Spring is not medium), hairbands, sheer coloured tights, and mod looks. A little sharper than Twiggy daisies.
Cirque du Soleil. The motion, physical vitality, and adrenaline of the trapeze. Coloured spotlights. Body paint.
What if you’re really a denim and khakis, Old Navy T-shirts, practical jacket, medium black purse, brown suede slip-ons kind of woman? What if you just like to look medium and not one of those qualifiers connects with you at all?
Some questions came up.
1. Â Can you confirm that colour 3.3 (from the True Colour Australia Colour Book) is a very dark brown? What would you call it?
Yes, but to me equally gray as brown. I think of the colour of a seal. Bright Spring’s grays and browns are uncommon, very hard to find in cosmetics, and don’t have easy associations for names. They’re just colours I memorize and look at again often. Most important, the colour is not earthy.
2. What is the difference between black and coal?
The image of coal is to illustrate the darkest black&white gray possible before flipping to solid, dense black.
3. Â I noticed that you show lots of gray shoes in the emails while the book suggests using hair colour to choose shoes – I would feel more comfortable with the yellows and browns of my hair colour as I’m not a big fan of gray – do you see that as a good choice for me? Â And is this boot close enough to my hair colour, which is darker underneath? Â I’m not sure I can see myself trying to find or wear light yellow boots/shoes! Â If this is too tan, too earthy, is there a way to work with that? Â
The boot Chantal asks about, above, is hereÂ at Roots Canada.
Overall, I think they’re fine. No two women will wear their colours the same way. I like that the boots are not too dark, orange (a bit orange, but lots of yellow), or lumberjack, with heavy treaded soles or cowboy feelings. Your energy isn’t really mesa or Cheyenne. These just feel natural, which is how you feel to interact with. You have no pretense or drama in what you choose to share. So in that sense, I like their authenticity and ease. The boots don’t feel like they have something to prove and neither does Bright Spring.
They are quite warm in colour, warmer than you are. They may not go perfectly with your new clothes colours, even if the clothing style is great with the boots. Wearing your hair and eye colour is one of those areas where women have to decide for themselves. I find that it can get you into problems when you interpret your hair or eye colour incorrectly, which we all do, all the time. Eyes have 20 colours in them at least. Hair is not a good indicator of Season, but it does have the same warmth setting as everything else about your colouring. This is common with True Winters who have apparently warm eyes and hair – if they wear those colours, their skin turns yellow, and there is conflict with the rest of the outfit.
For Bright Seasons, hair colour is the most difficult to understand and replicate. If the colour swatches show more gray, it’s because you are at that coolness level. Brights look poor in brown eyeshadow unless it’s the cleanest colour (no orange, no muted, no earthy). True brown can become mud on these faces. The clarity of your pigments can turn even medium browns into looking heavy and clumpy. But it’s important not to discard every item – I would wear these boots for sure, just with the warmer colours of your palette so they don’t seem like outsiders.
How about the choice above, linked here, also at Roots Canada?
4. Â I’m having trouble seeing myself as a high contrast person. Â Is this something that I take on faith as revealed by the drapes or can you help me to recognize this in myself?
No. 1: If we define contrast as distance between lightest light and darkest dark, then you’re a medium to medium-high contrast person. You don’t go to white or black. Â That’s value contrast. Now, your eyes are extremely intense in your face, giving a sense of a pretty wide span from light to dark, as you have, but not maximum.
Position white and black in your head. Now put a dot at a darkness level around medium. That’s the overall darkness effect you’re aiming for. You’ll achieve it using a span from yellowed-white to coal. Clearly, light and medium colours will be necessary, and the more dark you use, the more light you balance it with.
Above, Â medium value contrast, yellows with blues, sharp line distinctions in the foreground. Bright, sunny, warm. With every bit of black that’s inserted, the whole thing dies a little. Save it for tiny bits just to sharpen the edges and bring focus.
No. 2: There’s also colour contrast, distance apart on the colour wheel between two colours. You are colourful to look at. Your natural pigments are quite far apart (yellow hair with blue eyes, on some, we see light skin with golden brown eyes), which is why I find complementary colours so good to look at on warm Seasons. They are a logical extension of the natural appearance.
Medium value, sharp edges, a trace of black, neutrals with colours, the pants and T-shirt, the blouse and the earring.
No. 3: I like to see very sharp, clean edges between colour blocks on Brights because that’s what you look like, not all fluffy and blended and soft. That’s not contrast per se, but sharp divisions look more contrasting (is there line contrast?), it’s just a way that clear colours look good. You are moderately sharp to look at (bone structure, eye intensity, haircut is not feathery). Clean edges are a logical extension of the natural appearance. If you follow the guidelines you are made of, your clothes become yours for a reason. They seem connected with you.
This is Bright Â Winter – simpler, symmetric, darker, colder, with only a faint warmth. Black is half or less of the whole or the whole thing dies a little. Black sucks in light in itself and steals it from everything around it – almost shameful with the purity of the Bright Season colours, and a delicate balance even for Bright Winter because the light is faint and will lose the fight with a black wall.
You really can mix and match quite freely in your Colour Book, aiming for an overall darkness effect that’s about medium (there! a medium thing about Bright Spring). Allover light or dark isn’t so good. You are not monotone to look at. Inserting a colour somewhere is always necessary. Inserting a big colour block plus another one is even better.
Whether it’s lightest with darkest or medium with medium doesn’t matter too much. Your Colour Book duplicates your inherent lightest to darkest range exactly so you’re safe moving around in it. If I were to do the Colour Equations again, I’d lighten Bright Spring up even more, with bright blue, stone, Â or white pants. The only groups that Â make any sense to me in white pants (their white) are the Brights. True Winter, it would depend on how it was done.
In the client’s document, I changed two paragraphs to read this way:
This is Spring-like colour worn in a Winterâ€™s way â€“ meaning that you will wear your bright, clear, warm colors best, but using 2 or 3 different colours at once, and with moderate contrast, not as high as a real Winter would wear. Contrast defines how much distance exists between the lights and darks.Â High contrast implies that you wear the lightest lights and the darkest darks together. You are fine in these combinations, and equally good when combining your midtones.
With colour this bright, especially if the line between the colour elements is very crisp, they will look contrasting. They will not be like a watercolour swirl, which creates the problem of grayed colours when complements combine, quite opposite to the properties of the colours you are made of. You probably have medium-high extremes of lightness and darkness in your skin/hair/eyes, so you would repeat that in clothing and makeup to look balanced. Your palette does the thinking for you in this regard in that it comes close but not all the way to black and white.
5. Â You didn’t mention pearls as a choice for Bright Spring – I have a simple strand – will it work?
Anything will work. Like diamonds on a Soft Season, it’s not a natural fit but that doesn’t matter. Wear them anyhow if you love them. This is how you make your Season yours, your personal brand of dissidence that lets us know you better. It has to work for you, not the other way round. I know a Light Summer woman, the epitome of gentle grace, who wears the most beautiful, large rounded oval, slightly dangly, super sparkly, aquamarine earrings. It’s brilliant. It says to me “I love my life so much that I can’t hold it all in.”
No matter what we do, as gardeners, cooks, doctors, Seasons, we learn the discipline, we figure out the shortcuts and what we can get away with. Then, we decide how we’re going to break the rules or mould them to suit what we bring to the game. That’s just life lived with complete freedom of expression.
6. Â I have a sweater in yarn that combines several bright colours, alternating the colourful yarn with stripes in a dark / neutral colour. Would it be more flattering to stick to a solid colour?
Brights look great with many colours at once, just not blended together (blending colours causes either a watercolour effect, or the graying of mixing complementaries that makes the muted colours of Autumn and Summer). Side by side complementary colours or with a neutral colours, both are terrific on you. Stripes give energy.
There is a taste factor. You might like your colours blended together and that’s not wrong, just not what my eye prefers because it’s hard to maintain the high purity of each pigment. Â Be careful that the yarn isn’t comfy/chunky/heavy looking, especially if you’re working in neutral colours. It risks getting too homemade looking in that Autumn homespun way. Pick something young, Angora, sparkly, smooth. It should not look back-to-the-land. It should look brand new. Fun colours are always better on you, since colour is like your neutral.
A blue-eyed Bright Spring is very colourful to look at.
Your hair, eyes, and skin come together like this. You are beyond just colourful. You are coloured in complementary colours (blue eyes, yellow hair). That’s an extreme, or a type of contrast. So is light, warm hair on top, dark, cooler hair beneath, another type of contrast. The warm-cool in the colouring at once is true of all Neutral Seasons, but quite bright and alive here. To the viewer, it feels energetic and young.
On Bright Seasons, colours seem more at home than neutral grays and browns. Colours become your neutrals. Every Season has its extremes and only that type of colouring is completely at home and at ease in them. As Susan said so well, black is dressy, but only on True Winter is it casual wear. That’s what ‘at home’ means. It is that easy that it becomes your anytime, anywhere, the one thing you don’t plan around, where you can hide and relax. Having said that, nobody is at their best in head to toe black. Nobody.
Black is only thought to be dressy. Usually, it’s detracting. It can make textile look more expensive, yes. It is easier for marketers to sell us a ton of one thing than have to keep changing production lines, yes. The Dark Winter wears it well enough since it’s dark, but it begins to transform into the solid wall that it is on everyone but True Winter, so they warm it up. Walls are not entirely foreign to Dark Winter’s energy.
On Bright Winter, there are no walls, there is excitement. They are better in white than black, and a so-slightly yellowed white. Black shouldn’t be more than half the overall look. Thankfully, both Chantal and Rita knew to avoid it. As Bright Springs, a thin stripe of it here and there is fine but not more than that or it does what it always does – makes the colours dead. It sucks in all the light around it, which is an absolute shame for Bright Spring, the clearest, brightest colours that exist. The overall effect is gasping for sunshine.
7. Â I was very surprised to read that Spring is strongly associated with triangles and diamond shapes. Â I feel more drawn to squares in fabric (linen plaids, cotton madras, cotton checkerboard print) and rounded shapes in jewelry (beads, hoops, circles). Â Any comments?
Your preference. Those shapes are what I feel. Some see triangles as a Winter shape. Squares express more practical, natural, durable, serious, productive energy – maybe truer to how you have seen yourself for the last 20 or 40 years. Could be that the next 20 will be a little different.
Four years after my PCA, I was able to pull in the drama of Winter and could tell where the Enough line was. I couldn’t have done it 3 and 1/2 years ago. It cannot be assimilated in a week, a month, or a year. But you do continue to move closer to your center, hear your guides more clearly, and choose what is and is not the real you.
8. I’m having trouble thinking in terms of adding fun to my clothing. Â Suggestions of nylon, satin, trims, ruffles!! sound very girly, not a look I’ve ever worn or feel very comfortable with – any suggestions as to how I can approach this?
Bright Winter and Bright Spring read the style suggestions and see this
All I’m saying is that you’re not this. She is beautiful on someone else.
Start with the colours. Only the colours. Stay inside the lines you are comfortable with today. Pretty soon, they will loosen up and you’ll find some extra breathing space inside them. Â You might try yoga clothes instead of gardening clothes, as an example. The clothes at Lululemon, Athleta, Title Nine, MEC are often superb on Bright Spring and way better than rugged wear.
There is no need to ever get fancier than that. Nylon is a windbreaker. Satin might be a scarf. Forget trim and ruffles, and glitter. Not everybody does everything. The point is to get energy, as movement and saturated colour, into your look. Workout clothes give you that.
9. My biggest challenge is with the repeated descriptions of Bright Spring asÂ light, delicate, charming, and adorable. When I read these descriptions it starts to feel like maybe I’m not really a Bright Spring after all. Â Could we have made a mistake?
The most aggressive woman I know sees herself as nurturing. It shocked her beyond belief to learn that in the character assessment at work, every single person pulled out the Highly Competitive card. A very controlling Soft Autumn. Bit odd. And yet, she is absolutely nurturing.
A True Summer of very classic proportions, in fact quite straight in the hip, sees herself as extremely curvy. In her view, she is aggressive, masculine, direct, bold, a walking firecracker. Yes, well, I could go with endlessly seeking. She has no risk aversion though, which is not really a Summer thing.
We get mixed up about ourselves. More important, we are hugely complex. There are only 12 Season groups. Just playing the numbers, factor in 100 personality traits at high, medium, and low levels, parenting, environment, birth order, experience – you wouldn’t have 12 possible combinations, you’d have 12, 000, 000. Still more important, the 12 groups are not organized around character, they’re organized around colour.
Could I have made a mistake? Sure. Anyone can, anytime. But I don’t think I did. We’ll drape you again if you want. Free. Just bring someone with you. I don’t talk much the second time unless I think I got it wrong.
You have a great deal of Winter in your character. You are certainly curious, analytical, and interested. You have the youthful appearance/hairstyle/feature shape associated with childhood, so there would be great continuity if you wore that but you don’t have to. You may find some of that a year from now. You may prefer to express more distance and reserve and less party, just as you are.
Don’t struggle or try to chase it, you’ll just push it further away, like chasing money. Try not to overthink it or you’ll extinguish all your abilities to feel it. Leave it there and explore stepping around your borderlines in ways that feel good. Release any effort at trying to control it. Trust that it will happen, don’t feel that you need to know how. Your mind took it in when your eyes did – remember how that happened during our PCA session? We were learning it together just by seeing it happening. A few words at the beginning and then we could feel it.
10. If it sounds like my thoughts and feelings are whirling around – they are!
They’re supposed to. In our short time together, we had to pull apart everything you thought you knew about your colouring, right back to absolute zero, to the point where you could say, “I do not know what is going to happen next.” Then, we built it all back up again with the blocks lined up correctly. It is a lot to take in.
To learn, you have to unlearn. What we think we know pretty well is usually where we are weakest.
To learn truth, you must surrender what you believe to be truth. Ask anyone who’s had a PCA. You get enough proof to get rid of a lot of stuff fast and make space for the real and the right. It’s a shock to the system.
To gain control, we must first surrender control. Control is only an illusion. Trying to get it is what keeps us tired.
To gain power, we must surrender power.
To empower ourselves with new truths is bound to evoke resistance. We will come up against it every single day. In detaching and deciding, we become free and open thinkers.
I know that I overwhelm you with information during and after a session with me. Everyone learns differently and I don’t know what will click with you. I want you to leave a different person than the one who walked in, on every level, not just your lipstick choice. These reflections, the expansion, the open-ness, the wonder and the wondering, they will carry over into every aspect of your life.
Begin with the colours, bringing them closer to your body as nail polish or a beach towel. To the viewer, they still look like part of your energy field. In time, less serviceable items may be easier to replace with brighter combinations or prints that feel too risky today.
Keep asking me questions. I need it to know where you could use some help. Helping you in real and tangible ways is what I am here to do.
And remember the whole point of your personal renovation (Chantal’s excellent words):
Add Joy to the Journey, to every little glimmer, every success, every little deeper understanding.
In any change you want to effect, three questions matter:
1. What do I want?
2. Where am I now?
3. What am I willing to do to get what I want?
What Do I Want
Very hard question. Most of us are schooled in what we don’t want. You might want to develop the full edge and potential of your appearance. If your idea of great makeup is to take what’s already there and make more of it, as mine is, Winter’s best makeup might have your redefining your position. The colours in the face are a lot and now we’re going to add a lot more. Adding just a little more doesn’t move Winter very far from the start point, or nowhere close to the max point, but maybe you just want to know a nice eyeliner and gloss and that’s all. There is no right or wrong answer.
There is nothing wrong with being a Winter without makeup. The important thing is to channel what you do towards the outcome that you want. Too often, we’ve never identified either what we want or what we do to help or hinder that. If you’re a Winter, the time has come. No face is more altered with makeup. As in life, the good and bad are equal. As in all things Winter, they are also simultaneously at both outer limits. Other types of colouring tend to look more similar with and without makeup, which is a definite good thing. But it’s the Winters who can go miles from where they started, and that’s good too.
I like a lot of colour on Winter, a lot of makeup, a lot of drama. The face is that way already. I want every woman to be all they could be. Would our 80-year-old selves excuse us for having been less than that? Would our reasons have been good enough? Hint: no excuse or decision based on fear or negativity is ever good enough.
This is good.
I know it’s hard. This is the group whose language is power, a currency that women have been un-trained to deal in by every force in their lives. Power is not second nature to us.
Where Am I Now
Even harder question. Unpacking our own luggage and seeing what’s really in there can be scary, especially if the zipper has been jammed for awhile. Lots of people can’t admit their height and weight and those are facts. As the oft-heard quote states, “Reality is an acquired taste.” And slowly acquired at that.
All those Winters from the 80s, which seem to have been in the majority, are very seldom Winters, which is fine because they’re usually wearing Summer colours. The real Winters are buried among every other type of colouring. Their road back is a longer one for the Tone you might think would be the easiest to analyze and dress. They don’t see it coming unless they are very dark of hair and eye to begin with.
Once, I’d love the Winter to walk in who is overdone in her Winterness. The young ones are, even without makeup. They’re bringing it. More eyeliner (that we remove), thigh high boots (brown, but they’re trying to be bigger and it’s good), cape flying, doing something luscious with the hair, more ME-ME-ME. In our fifties, we women have toned ourselves so far down that we can lose our discernment of what is just normal and right.
Especially in our later years, when our faces finally carry all the power that took 50 years to build, isn’t it time to stop being so careful? I get that not everyone wants to present a heavily made up, dramatic face, but it’s not even about drama in makeup. There is so much caution to shake off. Drama and glamour haven’t been added for a long time and yet, this is where they are most at home, most normal.
Personal Colour Analysis is a gateway to Here’s Who You Are.
What’s In A Winter Face: both extremes at the same time.
To be more specific:
1.Â Contrast. You saw this coming. It means that there is a lot of distance between everything and everything else, such as:
Features from skin. Â The skin is very even, smooth, and quiet. Insert into that landscape a mouth, cheeks, eyes, and eyebrows whose colours create a big and sudden jump from the background. That Shiseido banner up above.
Light – dark levels of contiguous colours. Eyeliner is dark (it contains more black than any other group). The eyeshadow next to it, the lid colour, is a fair bit lighter (lid colour is medium on the other groups). The next band, the eyeshadow contour, is quite dark by comparison (more about that later). The eyeshadow highlight is icy light, nearly white (not the case for pastel on Summers and creamy on Warms).Â The brow is quite dark (but not darkened more than Nature designed on anyone), very sharply defined, and dramatized extra (crisp, arched, lengthened, whatever works on that face, which is simply to see what’s there and make more of it).Â For sure, any particular face might need these adjusted a little, but this is the generic look.
Textures, ultra matte to ultra shine. Quiet skin. No special effects. Snow White’s face isn’t contoured (which sets up lowlights for Autumn), dewy (sets up highlights, best on Spring), or cottony (sets up fluffy, just right on a dreamy Summer). On a Winter face or a winter landscape, those look muddy, busy, and trivial, a million miles from Winter. You want foundation whose coverage is opaque enough to make a very even blanket. Powder the whole face evenly.Â Add lots of eyes, lots of mouth, more blush or less (both can be good). Done.
The Best Skin Finish on Winter Colouring is: Even.
2. Drama. It’s like a deficiency when drama is left out of a Winter eye design. Not wrong. There is no wrong, no answer that works across the board, even within a Season. Winters I’ve seen, they not only balance drama, they are enhanced further with it. It doesn’t look even dramatic, exciting, stimulating, theatrical, or otherwise extraordinary. It looks normal.
Would the image above make sense with a soft and gentle eye colour or shape (expression)? Winter’s is not a gradual, blended, or soft face.
When Summers buy cosmetics, look for products that have a gentle application. Remember when we applied your makeup and we divided the foundation with moisturizer, as I do on every Summer and Spring, because heavy and matte products look like a mask on your delicate skin texture and softened colouring? The same principle applies to all your cosmetics. Having said that, we also showed you that when a colour is correct, you can apply almost any amount of it and it just blends believably into the skin. That’s true, but these are two different ideas. Summer begins with a product that swatches like a watercolour. Winter is looking for oil paint.
3. Keep the number of cosmetic colours low. 1 is good. Colour is subtracted from winter landscapes. Many steely dark grays, many icy grays or icy colours (means nearly white). Very little colour activity. And suddenly, a deeply flushed cheek. A red or purple mouth. The colours in the face are shocking enough on a still and quiet energy.
Remember how on Lights, dark colour takes over? On Winters, it’s colour itself that becomes too much too quickly.
Would this be more effective if we added a buttercup, a bluejay, and a lilac? No, the red would lose its voltage. There are thousands of these photos out there because they make sense to humans by reinforcing something we already know and recognize.
4. Intensity. Don’t leave any features behind. Enhance each one to the same degree. Thou Shalt Not Be Wimpy. Apply a lot of colour to each feature and don’t blot any off till the whole face is done. Each part looks like too much on its own but it all works together when all the pieces are in place. Blend nothing till every part is done or you’ll overblend that feature back into cautious and unbalance the face.
Thou Shalt Not Be Wimpy applies equally to concealer as lipstick. The blues and purples in the skin are so saturated that a sheer concealer won’t hide them nearly as well as a product with good opacity. My favorite is Arbonne for that reason, plus it stays where it’s applied, it lasts amazingly well all day, and it dries fast so I can apply foundation over it immediately without overly diluting it or smearing it everywhere. I am very fussy about where concealer goes but I use a lot of it. For reference, I wear Arbonne Medium.
What Are You Willing To Do
Look very different to yourself? Exchanging a plaid duffel coat for a black and white herringbone is a step. Wearing bigger jewelry than all your friends? Be the only one of the girls to wear a fuchsia red mouth?
Draw a lot more attention to yourself? Stand out and apart? As many have discovered, getting noticed for being different isn’t easy, even is it’s a good different.
Wear your real true This Is Who I Am hair colour?
No right or wrong, just questions. Everything looks easy from the outside. Try it, you may find it takes some effort. What are the conditions on what you’re willing to do?
Would you wear twice as much makeup as you wear today? Most Winter women accept the eye makeup fairly easily. Lips can always be sheer. Winter’s sheer is Spring’s “Oh, dear Lord, too much, wipe it off, start again.â€ Winters, pick sheers with a lot of colour or save your money and buy Chapstick. Where you hear the brakes screech is with the blush. They feel like clowns for a week. What everyone else sees is a pulled-together face. Not in how much, which you can decide, but in how red. Blood on snow, right?
The Nature of Reflected Light
The Spring, Summer, and Autumn articles Â preceding this one are linked in their names. The idea is that our natural colours have a way of reflecting light. Beyond just the colours of the reflected light, the wavelengths have properties that reach our other senses, as texture for instance. In Chinese medicine, our fingers are entry and exit points for energy. Of course. How could they not be? They touch everything. They’re up and down-loading who we are all the time. Each of our sense organs is doing the same. Each of the 12 Tone colour collections speaks a certain language, is evocative of certain emotions, reminds of certain landscapes, and makes sense if consistent in colour and touch and sound and scent and taste. It’s all happening at once. The knee bone is connected to the neck bone.
Summer’s soft, gentle, serene, muted colours don’t make sense in leather pants. Skin with that colouring has reflective properties truer to the surface of an opal, not a mirror or an elephant’s hide. Soft Autumn skin reflects light like felt and its colours are more beautiful in that texture than done up in Mr. Freezies. Do colours bounce light in certain ways that tell us texture? Or is it that skin painted in certain colours also carries other qualities that bounce light in a way that impresses texture?
The True Winter surface is smooth and hard. Dark Winter is smoother than Dark Autumn but not 100% smooth; it’s also thick, and not quite as hard as True Winter. Bright Winter is very smooth, shinier, and semitransparent – Dr. Sheldon Cooper, as opposed to Autumn’s Magnum P. I. Though some will cringe, I’m still going with rubbery for Winter skin by comparison with the other Seasons.
So far, we’ve said:
Bright Spring: glass
True Spring: persimmon
Light Spring: petal
Light Summer: Â peach
True Summer: Â cotton
Soft Summer: Â flannel
Soft Autumn: suede
True Autumn: velvet
Dark Autumn: leather
Dark Winter: Vinyl
If we start at Dark Autumn and move along to its cooler side, we arrive next at Dark Winter. These are both Neutral Seasons. Dark Winter has more in common with the True Season parent of True Winter, but does share the most important dimension of colour, darkness, with the Neutral it’s paired with and whose descriptor it shares, that is, Dark Autumn.
We begin with Autumn’s canvas, which is strong and textured. As Winter settles in, the skin texture smooths out. Dark Autumn’s leather is transitioning.
Dark Winter skin throws light back like vinyl.
Not just record vinyl, but inflatable products, dominatrix gear, and tarps. Maybe even a car. Industrial, tough, shiny, smooth, waterproof, and useful. Good Dark Winter words. Not bad words for their jewelry and belts either. Dark Winter takes Dark Autumn’s gypsy/Rustic Opulent and shifts it to gladiator. A sweater in black or dark grey metallic looks like chain mail. Stud, armor, and heavy link effects are a natural fit here, scary elsewhere.
Dark Winter is mysterious. It’s Christmas Eve, the dark jewel-toned ornaments, the fireplace, the night, the lights in the windows. Very nice, but there’s something bigger going on. The feeling of waiting for something. Waiting for the reason behind the pretty. Deeper, even darker. Sinister.
Nude lips on Winter looks tired and old. Dead lips, a good friend calls it. My new favourite lipstick is Shiseido RD 305. It is just pink enough to not be red-lips. It is beautifully saturated with the touch of brown that Autumn adds to make your colours less cold and more natural than True Winter. That brown is essential to create the encompassing harmony that only a colour analyzed appearance can give. You are coloured with a little of that brown, where brown is dark orange, and your hair, skin, and eyes have some gold-amber-orange tones. If your skin is light to medium, this colour may be your best natural lip.Â It’s not dark, often the case with Dark Season lip colours. It’s fresh daytime believable natural lip colour. Not ready for it yet? Top it with clear gloss.
Bronzer can play a tiny part because Autumn has left behind the slightest texture or roughness. Contour carefully, with powder that has enough red to disappear into the skin (eleablake‘s Miss November is great). Follow the 3 shape at the sides of the face and down the sides of the nose bridge, using a small amount, more to carve more geometric drama into the face than to warm it up.
Soft Summer’s darker foundation trick to contour is too wishy-washy here. More colour is required to be noticeable and achieve the outcome. It’s not a bad option as you learn or if you want a very subtle effect, just be sure the darker powder is as cool as your foundation or you’ll look yellow. It takes a lot of colour to make any difference on the intensity of this inherent colouring. A few shades of beige this way or that will make less difference on Winter skin. Carefulness is plain pointless.
Darkness works. Smoke is natural, like the Autumn muting in the skin. Smoked eyes make sense. The lighter lid eyeshadow can equally well be fairly dark. Any Season can do smoked eyes, but it’s most at home on the Darks. Even the other two Winters are best to exercise caution in darkness so it doesn’t look heavy. They look better in clean and silvery.
True Winter: Ceramic
Even smoother and even harder.
True Winter: ceramic. Like a white sink. Impenetrable, tough, and enduring.
Clean. Picture the makeup colours from your palette painted right on that white sink. Dark eyes, red-violet cheeks, red-violet lips. No fuss, no frills. Not smoked (Dark Winter) or clear, as in translucent (Bright Winter). Can you tell this before they’re draped, by looking at them? Absolutely not. True Winter is always the draping surprise for me, even more so than Bright Spring.
For True Winter, that very quiet blanket of skin without a lot of cheek colour, or with an icy light cheek, is excellent, like the picture at the top. For Bright and Dark, colour on the cheek is better, I find. It adds to Bright’s liveliness and Dark’s intensity.
Eyeliner is dark. Eyeshadow is quite light and silvered. Under brow highlight is near white or some icy (near white) colour. Contour and back corner eyeshadow is quite dark. Darkening the outer back corner of eyes looks good as a way of adding drama. Use a dark gray/black eyeshadow. Go over the eyeliner to fill in holes. Drag the dark shadow out past the crease. Turn around and start pulling in inward above the crease, not in the crease. This enlarges the apparent size of the eye and recedes the skin above the crease that can close in. On eyes where the upper half of the lid is smaller than the lower half, the crease is shallow, or the eye prominent, you would omit this effect. Deposit some dark shadow at the outer lid corner.
Other Seasons will use a darker shadow that isn’t much darker than the lid colour or skip the effect altogether. On a Light Season, where dark colour takes off, the eyeshadow contour can just be the medium lid colour packed on a bit more heavily. On a Soft Season, the liner, lid, and contour are quite close in darkness level, as in medium, with contour only slightly darker. They distinguish their roles by being of different colours in similar darkness levels, rather than Winter’s variations on one colour (gray) in extremes of darkness levels. On a Winter, light means really light and dark means really dark. You are it already. So be it, as P. said so cleverly.
I do not know how bronzer can improve this face but I’m willing to see it if anyone has good products or ideas. You wouldn’t want to dull that spectacular opposition of The Purity and The Darkness that only this colouring incarnates.
Winter’s sheer is Spring’s almost-opaque. The best Winter gloss I can think of comes from Lora Alexander at Pretty Your World. The texture, finish, and amount of colour are excellent, with good clarity. Glama and Hot Lips lip colours and Fast Track blush are great (I own them). From this compare page of the Cool Winter selections, Diva looks super good too.
Though True Winter is very red-based and looks great in blue-based red apparel, I find their most natural fit for blush and lipstick is somewhere in the pink-fuchsia-purple spectrum. That may be because true red lips are like true black eyeliner, somehow harder and more dramatic than human faces really are. Dark Winter’s burnt rose red and Bright Winter’s strawberry or pink red alleviate the pure redness. True Winter does the same by using violet, meaning clear purpled pinks. Arbonne’s Raisin gloss is a very impressive purple. Lauder’s Raspberry Pop is good but gentler, as is Merle Norman’s Raspberry on Ice.
Bright Winter: Silicone
How about Bright Winter? That amazing special blend of innocence with a dark, brittle edge. The geisha could span the Bright Seasons. Once the delicacy feels almost too rare to conceive on this Earth, the hummingbird, a membrane-thin gold foil, we’re into Bright Spring.
Spring has a hand in Bright Winter. Therefore, we need a sugar coating, shiny, fun, and ornamental. Pink frosting on lids, cheeks, and lips, lilac highlights, more play (more colours at once), more theater (cat eye, a few false lashes, fine winged brows, bright lips, hats with veils, cloche hats with beautiful ornaments, because hats and earrings are face accessories). Below, the haircut, the dress print and line, all awesome.
Definitely a lighter palette than the other Winters.
The skin’s reflectance had me searching for an analogy. Fine china with that near-transparent edge? Thinking, thinking,…mostly Winter, therefore rubbery and even, but a little softer with a transparency in the outermost layer… oh, you’re going to love this, jellyfish! Not good? Soft boiled egg? Maybe. Yes.
But jellyfish is so good. Stay with me here.
The flamenco dancer.
Heavenly and magical.
You see where I’m going?
How do we translate this to makeup? You don’t have to do a lot, you have this smooth and rubbery (all Winters) clarity (Brights) already. Clear silicone skin. Increase it with Â intensely coloured products, pigments so pure, you would swear they’re transparent. Brush powders with the slightest finest shimmer effect on all exposed skin. Don’t stop at the jawline. It’s a sprinkling of fairy dust, that sugar topping, an overall crystalline effect.
Bronzer? A little icy gold uplight, sure. Baby peach, always good on Brights. Very little.Â We feel no bronzer per se here:
Chanel Glossimer in Jalousie is nice.Â Bagatelle is a light, pretty peach, Clarins Crystal Violet and Revlon Lip Butter in Raspberry Pie could be shared with True Winter. Stila Lipglaze Raspberry Crush is very good.
Recap: The skin is calm and even in colour and texture. By using strong lines, bold colours, intense pigment deposits, and big distance between light and dark, both adjacent and separate, we create very clear feature definition. There is no question about where one ends and the other begins.
For Summer, we said:Â 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:Â 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.
Visible darkness, the eyes are near black, but how much darkness exactly? How near black?
Is that muted skin (Summer or Autumn) or sallow (a Winter)?
Is she sweet (Spring) or graceful (Summer)? She’s both if you know her. Who expected her to pull off so much drama?
In Jackie, are we finding Summer’s ‘quiet-till-you-know-her’ or Winter’s contained?
If I am completely uncertain beforehand, she’s usually a True Something or a Bright Spring. I’ve seen Jackie at her work many times.Â She chooses a lot of cool, muted colours, like a Soft Summer or any young woman in today’s retail offering. Sometimes she wears black, which clears, defines, and comes close to overpowering. No way she was warm enough for a Spring, even a Bright Spring. No doubt that the B&W of True Winter would be too sharp. I had never seen her wearing makeup.
In 12 Season (12 Tone) personal colour analysis, Bright Winter is the Neutral Season, or group of natural colouring, that takes most of its colour properties from Winter, with a small, but so important, contribution from Spring. When the two Tones of highest chroma come together in one person, our senses feel the hit of the purest pigments, offered in a most gentle presentation.
I didn’t imagine she would balance Bright Winter. A colour analyst has the same comparison-based sense of vision as everyone else. We can guess but we know how much money you will part with based on our advice. We don’t guess. We measure. She balanced it and then some. Her eyes were clean and crisp – what happens to part of the face happens to the whole face. It’s just that some features are better markers for it. If your eyes are clear, so is your skin. If their edges are clean, so are the rest of your features’.
Beginning with how a person looks, dark, light, etc. is only a little more secure than naming Season based on character. Especially the True Seasons. It takes a certain amount of guts to pronounce True with drapes, let alone without. Especially the True Spring and TrueÂ Winter. They never look like the averages. Those we think we know from media are usually very altered.
Was I looking at a curvy faced Summer with sleepy eyes and swoopy lines? Or a Theatrical Romantic (TR) (as per David Kibbe’s fantastic 1987 book, Metamorphosis), with sharp curves in the face and the frame? All of Mr. Kibbe’s 13 body types appear in all 12 groups of natural colouring, but when I see TR, I think of Brights. What they have in common is slenderness. When you really look at them, they’re narrow from left to right, like the frames you imagine models must have to photograph so well, but much more feminine in the curves. Of the Brights I see, half or more are TR.
She couldn’t be Soft Summer. The connection that the black in the eyes made with Winter drapes was one thing. Only brown eyes in one of the 5 Winter-influenced Seasons will do that. Plus, just moving ideas around before the analysis, her character wasn’t right. The Softs are Brights are both gracious but contained. Soft Summer is steadier. She is thinking about keeping the ship on course, attending to the work of the day. She gave the analysis some thought and gathered a list of questions. She is going to get it right.
The Bright Seasons just show up for the experience. Winter thinks their way through it, Spring feels it. Brights are sparkly, not the first adjective you might think of for any Season on the Autumn side. Jackie is very sparkly once her right colours are near her, with the points of the sparkles in her nose, her chin. Anyone could have thought that was Summer’s doll-like face, small chin, beautifully shaped nose…but nobody can link character or facial features to colouring until the drapes find the truth of the colours. After that, a lot more starts to make sense.
Colorants remain pure in apparel and cosmetics for Bright Seasons because the native colours are pure. Saturation in dyes can go, and will go, as high as chemistry can take it, higher than Munsell saw back in his day. I have never seen the colour that can overpower this skin in purity. Darkness, yes. Chroma, no. Maybe if you wrap them in a neon tube, but I bet Bright Winter would just look better. Part of what sets them apart is the potential for extravagance that takes everyone by surprise, them most of all. Placing this skin in soft colour, meaning muted, meaning blued or pinked greys, meaning pastels, you wouldn’t do it if you’d watched what happens in real life with your own eyes. You’re looking at a face in a dirty mirror.
Colour saturation is extremely high in the Bright Seasons. Too often, we darken when we saturate colour in our imagination. The 3 Colour Scales (hue, value, chroma) are independent, meaning that when a colour is altered, the other colour dimensions are necessarily affected, just not necessarily in the same way. Bright Winter has higher chroma (more saturation, pure pigments), higher value (lighter), and warmer hue than the other Winters. (One could argue that theoretically, the overall value is mid range and the range reaching fully to B&W, so the same as True Winter. It is hard to accurately judge value when colours have different saturations and/or hues. My eyes think they see Bright as lighter than True, just because the yellow in the Bright palette looks lighter.)
I look for colours with incredible pigment purity and yet, some transparency. Coloured crystals, coloured glass. Jackie was too comfortable with Clinique Kissyfit lipgloss, magnificent that it was. I want you a little uncomfortable, especially Winters who don’t like to give up control. Many are pretty sure that they know their own best presentation better than anyone else (more Darks and Trues than Brights). They come in telling me they already have their best hair colour and they won’t wear pink or orange. In truth, they see themselves accurately to the exact same degree as anyone else, which is to say, maybe 50-50. Jackie had the perfect mindset. She wouldn’t put her foot on the brakes no matter what. She could see her appearance getting better and better and she just went with it. A little nervous? Maybe. Did it anyway.
I’ll keep adding till we push open those doors. As you know if I’ve put makeup on you, I’m not stingy or careful with the amount. I want you to see right colour fuse with your face and to give you balance. Never get in the way of your own glamour. Of your own anything. We moved on to Tarte Nuria gloss. Jackie could see that it was a lot more than she’s used to, but she couldn’t look away or say that it didnâ€™t look superb. Each building block of makeup on a Winter looks like too much on its own. You need it all to balance. Eyes with this intensity need a mouth with something going on, or the face is off kilter.
We used a charcoal liner and lots of it and L’Oreal Blackened Smokes eyeshadows. Pulling the dark sparkly black shadow over the grey liner was magic. Black mascara. I’m coming to notice that Bright Winter often has ridiculously gorgeous eyelashes.
Lighting is variable in these photos and many are taken in a mirror. The colours may not be what you expect for Bright Winter. These photos have gone through four digital machines before you see them. Besides, they are surrounded by too many other colours and uncontrolled lighting to know what they really are. To know the truth of a colour, it must be surrounded by neutral gray. The walls of the room are painted neutral gray but they sure don’t look it, do they? Correct colour analysis requires neutral surroundings. For me, that’s the first non-negotiable standard.
I believe that the best beauty is the easiest for others to see. The minute something doesn’t fit, we feel it in our gut. The person has altered themselves, as if they couldn’t trust themselves the way they were. If they couldn’t, should we? People are more relaxed and honest with us if our appearance speaks the truth of us.
The beautiful girl in these pictures is at ease with herself. Jackie is easy easy for us to look at. She’s wearing lots of makeup but the colours feel like an effortless, natural part of her face. Most important, her expression shows us that Jackie feels happy and calm. We, in turn, feel happy and calm. Humans are highly empathic, women especially.
What I want to give you is what Jackie has in these photos, a feeling of being fully satisfied and grateful with what she was given, of knowing that her gifts are perfect, plenty, and enough for anything she chooses to do. I love to analyze young women so they can experience this no-turning back moment. May they carry it for a lifetime and never fill a makeup bag with colours made for anyone but their own true selves.
I am thrilled when I meet women who present themselves as they are. I have a lot of respect for the fact that when we meet, clients are without their makeup. I am given the enormous privilege of a blank slate and the permission to take it where I see the most genuine beauty. Some women don’t wear makeup and never will, and that’s fine as long as the decision is made from consciousness or hope, anything but fear (and if it’s fear, I will help you).
What happens when a woman loves sweats and denim jackets, sees herself as a student, say, or scientist, not a bombshell, dresses in Summer’s colours, and finds out in one short afternoon that she is a Bright Winter?
Annie is a stunning, and I mean stunning, Bright Winter with medium brown hair and aqua turquoise eyes. Â Big similarities to Sophie Ellis-Bextor, with a little lighter hair colour (see the hair colour photo in next section). Annie works and studies, loves her jeans, runners, and hoodie, and has all her gear in a backpack.
Like Jackie, she found it hard to look away from her face in lovely makeup and her own, perfect colours. Once she got back home, it came to her that she wasn’t at all sure she wants to go around being stunning. Annie is discovering what many of us have, that being noticed for our great beauty surprises us by being awkward. We get over that. Then we have to put our clothes together.
She read all the adjectives about energized, dynamic, and sharp, thought about the Snow Princess analogies and heard this. It’s too loud. Bright Winter is not brash. No Season is. Each one finds a balance. The darker, the quieter. The bolder, the more minimalist. The purer, the more crystalline. The brighter, the sweeter.
This is too hard. Close in many ways, beautiful and powerful face,
Both of those forgot two very important elements that have to show up together: delicate (missing above) and happy (missing below).
In the meantime, AnnieÂ just wants to be this. Also beautiful, but Annie looks like this about as much Sophie E-B. There are aspects that are right but it’s probably not the best fit.
Some of these are personal adjustments, as Annie feels her way to being at home in brighter colours. I recall going in to work my first day after my ‘adjustment’ and thinking everyone would notice and comment. Nobody said a word. We move into our new direction too slowly for others to really pick up on it, but to us on the inside, those first few steps feel almost earth-shattering.
But also, Annie is right in that Bright Winter walks a fine line. To say Snow Princess and leave it at that emphasizes the cold, the regal, all true, may be easier if you have Nordic genes, but forgets Spring’s melt. The Bright Seasons are a world coming alive, fresh and young, the activity of life great and small on the forest floor, in the trees, and in the fields. The lid is still on, this is still Winter, and now getting ready to fire on all cylinders. That building up is the stored energy of Bright Winter, the flash of a yellow silk tank or lining in a dark tuxedo.
The contradiction of Bright Winter is in how it will fire: as babies, with all their innocence disguising a powerful intention to live. When we choose clothes, we want that element of extreme youth, even before birth, earliest dawn. Baby colours on Winter’s dark background. Sounds of bells when the sun comes up. A jeweled silver locket. Dangling crystal earrings. A thin, shiny, sugarplum belt. Yoga pants with a line of sequins down the leg. A pink scarf with Â gold and silver metallic threads. Sun is still an afterthought in the early hours. Like a child’s tiara, it doesn’t have to be big and heavy. Accessories are a great way to bring your energy closer and keep the detachment you need to not feel threatened while you absorb it.
The Â image below is closer to Bright Spring. They still have Winter’s darker reserve but it sneaks away from them. Many more giggles. Fireworks are delicate and temporary, true of all Spring, but there’s too much movement for Winter.
This is better. The feeling is not so much delicate as fragile. It is delicate as intricate. The colours are the same. The faces too.
Need not be complicated or expensive. Need not be a big area. We see small areas just as well. A bright pink tank top with a little pink sequin detail, an ice grey hoodie in an athletic knit instead of sweatpants fleece, dark jeans, runners with a turquoise swoosh, little diamond earrings for $7, and a backpack with a red zipper.
I can’t think of a store that does inspired style with a big nod to adorable better than J. Crew. Search the Women’s page. Icy boatneck tees, an awesome handknit mixed media sweater, bright cashmere…but these girls aren’t done up and fancy. They’re not Ice Anything. Somehow they still look a little special. They’re uncommonly accessorized. Kate Spade has sweetness too, but usually too perky for a Winter.Â Is Crew too safe? Maybe so, but by the time these women reach their 40s, they’ll be ready to pull out more stops.
What we do is just proof in the physical world of what we believe. We cannot change our beliefs instantly, regardless of how strong the argument and the evidence. We live through that shape shifting time when we saw one thing, we consciously know it’s true, but everything else is catching up.
Give yourself the time. Invisibility was a kind of superpower in its own right, just maybe not the one you want for the rest of your life if you really think about it. Once you’ve seen yourself in your best colours, going back to invisibility feels like letting yourself down. You feel your way into your new colours over a few months. You have time to wonder, “This is just clothes. Why is this affecting me so much?” You’re doing this for you, always the hardest person to convince. Once we believe in us, everyone says, “What took you so long?”
Tea and Coffee Hair
Bright Season hair is uncommon. It’s glassy. It’s lighter than True Winter in many cases. The mistake is made of assuming it’s light to medium brown because what else are we going to call it? Â Wearing wrong colour, it can appear to have the dusty quality of Summer ash brown. Once the colours of clothing are adjusted, your hair looks as different, improved, and cleared, as your face.
Bright Season hair is never ash.Â If I were a hair colourist, I might know how to create it, or maybe it can’t be done. I have never seen it improved by hair colour. The colour is always too dense and heavy. Maybe it’s because the hair colour industry’s way of making choices for women is broken, not the fault of the stylists who are the nicest people. Maybe because Brights should just leave their hair alone. Colour chemistry hasn’t caught up with the specialness of it. I do wonder about Laminates though. They may have a place, as coloured cellophane, consistent with hair that is basically already that.
I’ve likened Bright Season hair colour to tea and Autumn-influenced hair to coffee. Bright Season hair is not only lighter in colour, the colour is lighter in density.
Annie’s hair, Earl Grey Tea with lemon in it.
Dont mess with this hair. This is not medium brown hair. It’s magic.
Often, a Bright Season tip-off Â is hair that is not as dark as eyes, when eyes go to black. Not always. Asian people often have hair and eyes of equal darkness. We have another Bright Winter article coming with hair that is as dark. We’ll show you root beer and black tea.
Here is one reality.
Many aspects of her face remind me of Jackie’s. The shapes of the eyes and smile particularly.
Who knows what’s real? Are the freckles? The hair colour? But what colouring.
Use of Images
The images contained in this article are of private individuals, not celebrities. I consider the permission for me to use them as a privilege. It is my intention to protect these women’s privacy and generosity. If you use any of the photos without permission, I will seek legal counsel. I do not want to have to reduce the beauty and detail of the photographs with watermarks.
This is a learning site. You are free to use any of my words so long as they are attributed back to the page you got them from (meaning entire URL, not just the site name), in every instance of their use. If you mix up my meaning and get the message wrong, feel free to omit any reference back to me.
Answer: No. Never. They can appear to conflict until your colours are correctly analyzed.
I get 3 or 4 emails each month about this. So let’s talk about it, framed around pieces of conversations with real women. It’s the practical application of my digression in the earlier post, How To Match Foundation.
Palette and swatch in this post always refer to colours found within your particular group of colours in the 12 Tone system of colour analysis developed by Kathryn Kalisz. Some of the Tones or Seasons may have similar or identical names with other companies but if their origin isn’t Sci\ART, their colour collections are different. I don’t know how other organizations developed their palettes, what their colours are, or what the desired outcome of their PCA process is. It’s not my place to answer questions about them.
The eye photos in this post are just lovely pictures. They are not textbook examples of the words or the ideas.
If hair/eye colours are not in the palette
I am a Bright Spring with dark brown eyes, dark brown hair, and light skin.
Yes, Spring under Winter influence is often brown eyed, from a glowy topaz jewel yellow to black brown. Many persons of Asian and Celtic origin have this colouring of darkness in hair and eyes and lightness and brightness in skin.
Since this is predominantly Spring, not Winter, the person is sometimes not conspicuously contrasting, though they certainly can be. A brown eye with light skin or hair is fairly contrasting in itself. Sometimes, the Bright Spring eye is so light brown that it’s yellow, like a wolf. It’s quite a thing to see. Or to be, I would think.
not this, but notice the coat colours and the eye-coat harmony, animals are just like us,
The color of my veins, lips, and cheeks are all in my color swatches and flatter me.Â However, the brown in my eyes and my hair is not in my color swatches and does not flatter me when I wear clothes of that color.Â How can I wear brown as an eye and hair color but not anywhere else without looking washed out?
You’re wearing the colour you think you see, which is never what colour is. Here is one reason for why it’s harder to figure for some Tones.
There is variation in hair and eye colour in most Seasons, but nowhere more than True Winter and the Brights. I’m not sure of the answer from a genetic perspective. I don’t think anyone can answer the magic of how harmony happens in spite what our eyes think they see. Maybe the mysteries should remain mysteries.
The way I reason it is that we don’t know the exact pigments that make up our hair and eyes. Â If I showed you 20 brown eyes, could you pick out your own? Would you pick the same brown as your friends would choose? Would you pick the same browns, yellows, oranges, and other colours, that the drapes (consistent with the Sci\ART colour calibrations) identify within your colouring? Probably not, on any count. We do not know which colours make up our final colours until one is draped. If you knew and wore the ingredients that go into your total hair and eye colours, you’d be utterly flattered.
Bright Spring has many yellows, beer and clear cider colours. When they have dark hair, it’s usually root beer and black tea. It is never coffee, which only looks heavy and thick on a colouring that is as far from those as you can get. Lighter brown hair is herbal tea, not orangey-muted-gold, not velvety-dense-brown. It might look ash brown or medium brown but it isn’t.Â It is clear. While clear means high chroma, and transparency is not a quality by which we define colour (because colour can be bright or soft and still see-through), this hair is like coloured cellophane.
People with green, blue and grey eyes seem to always look great if they match their clothes to their irises.
I would not agree. Blue eyes will match blue drapes or blue clothes in any Season but the best match is only in one. It’s not even a difficult decision. Some aspects of a correct analysis are challenging for a woman to perceive on herself. Achieving the ultimate eye colour is usually easy.
The colour a woman has matched to her eyes all her life is never the best or correct one in my experience. She needs her Colour Book to direct her to her turquoise and only then will her eyes become all they could be. I see women hope they’re wearing their eye colour all the time and most cases, they’re barely in the ballpark.
Blue eyes under Spring influence (one of the 5 possible Seasons) are seldom blue. They’re turquoise, aqua, or cornflower (light blue with very little green, the cornflower being one of the few truly blue flowers, but to me, appears a little violet). It’s a beautiful thing when you find it.
Not just me butÂ a lot of brown-eyed people can’t wear brown.
Quite right, many brown eyed people are Winters of some sort and have very little brown in their palette. And when they’re draped, darned if much of the brown in the eyes suddenly turns black and then they’re wearing their real eye colour at last.
Hair and eye colours as they appear are often not in the True Winter, Bright Winter, and Bright Spring palettes.Â I think the way it works is that the contributing base pigments are there but the mix isn’t.
You could say to me, “OK then, if I could take colours from my palette and mix them, are you saying that I could theoretically make my hair and eye colour from the swatches? ”
I think so but the truth is that I don’t know for sure if any and every mixture would still guarantee that the hue/value/chroma remain constant. If you mixed complements, you would mute the colour if either of the originals contained the complement of the other. You’d mute the resulting colour into a more muted Season.
To make clear green (say, Winter), you need a blue and a yellow without red, I would think. Could it be done? Winter colours contain red, but are there a blue and a yellow without red? I’m not enough of a colour mixer to know.
Thinking out loud now…To make clear orange (Spring), you’d need a red and a yellow that contain no blue. That seems possible, Spring colours are not blue-based, though some contain blue.
Clear violet – needs a blue that leans red and a red with some blue in it, neither of which contain the complement of violet, yellow. That could make a brilliantly clear violet, even a violent violet, if it’s necessary – sure it is, for Winters. How is that done for Spring where yellow appears in every colour? Haven’t figured that out yet.
Can I make amber or warm brown eyes with a True Winter palette? I think so. True Winter contains yellow, very saturated, a little blue without turning it green. It also contains the other primaries of red and blue. Three primaries make brown.
True Winter and the Bright Tones are intricate and unique types of colouring. Not inconsistent, just complex. Which is why I suggest they think twice before colouring their hair. I have never seen it be improved enough to balance the cost, time, and upkeep.
I can match clothes to the rim around my iris (which is sort of a dark periwinkle) and it is quite flattering but if I wear clothes that are the same brown as my irises I look washed out.
So it’s not the right brown that you’re wearing, it’s just the one you think you see as the amalgamation of all the many colours in your iris. Good call to notice that the rim of the iris is different and if you can match it, a superlative colour on every person.
Â How can brown-eyed people can be any Season, but only Autumns can look great wearing brown clothes and makeup?Â
There are a million versions of brown eyes. Brown eyes can be in any Season, but they won’t all be the same brown. Same with the 12 Tone palettes. Many Tones have brown choices but they’re not the same brown.
Nine in ten women only find out their real eye colour when they are draped. Those brown-eyed people you refer to in your question and the browns that you refer to looking great on Autumns… very unlikely the same brown.
Are cool hair and warm skin possible?
I was snow white blonde as a child, but am now a dark, ashy blonde. It’s a cool colour.
Â Dark ash blonde could be found on a cool, neutral, or warm person. ApparentÂ hair colour isn’t tightly tied to the true heat level of your colouring, though your overall contributing colours and appearance are always 100% in harmony. Every person. The true heat level of your hair is perfectly consistent with the heat level of your skin and everything else.
We could take your dark, ash brown hair and place it next to five other dark, ashy heads. It would be interesting to see whose is cool, whose warm, and whose is neutral in between cool and warm. I would guess that your hair wouldn’t be the coolest if we compared it on a scale. It might be cool-ish, but that’s not Absolute Cool.
Because you know, Absolute Cool and Absolute Warm, they’re rare in human colouring. Kind of extreme. I haven’t seen a True Autumn or True Winter in ages. I see several Neutral Season versions of Autumn and Winter every month. The thing to wrap your head around is Neutral. What does it mean? What does it look like?
Just playing the odds, you are neither warm nor cool in skin and hair. If you’re like eight or nine people in ten, why wouldn’t you be, you’re a Neutral Season that might lean towards cool.
Whatever you are, cool, warm, or somewhere in between, the setting is the same in all your features. One genetic code governs your paintbox.
Â But I have medium light skin with golden undertones and no rosiness in the cheeks. All I see is yellow. Wouldn’t that be warm?
Colour analysis, which guides every colour decision you will make, isn’t about what you look like or appear to look like. Your natural colouring group, Tone, Season, is determined in the one way that can truthfully reveal it: how the colours in you react to other colours. Nobody can know their truthful colouring correctly without testing their own skin’s reactions against an organized and measured set of colours in a colour-neutral environment. If your colours react the way you expect them to, you would be that one person in 50 who knew ahead of time what was going to happen. That’s why it’s so hard to do from books and photos and impossible from verbal descriptions.
Your skin probably is light-medium. What colour your undertone is, or even whether it’s warm/cool/neutral, nobody knows till we test and measure it. Why am I so sure? Because nobody who comes to a colour analysis appointment is ever wearing their correct foundation – until we solve that question forever more and show you how to make the best choice.
If my hair is overly golden, my skin looks red. When it’s natural dark ashy color, highlighted with platinum, it looks tanned and alive. Just natural it is bland. Dark red wasn’t good. But when I went a more natural dark blonde with subtle red tones, I got many compliments. Dark golden blonde, more of a caramel, washes me out, as does all over light blonde with no contrasting darker pieces. Can someone have a seemingly warm complexion with cooler toned ash hair?
Actually it’s really common. Usual, in fact. Though there’s lots of good colour observation here, the description could occur in many of the 12 types of colouring. Sounds to me like you have cool-neutral skin with a little warmth, but placed next to wrong hair colour, it will look warmer than it really is.Â You may have a false yellow overtone, like many cool Neutral Seasons, and be interpreting that as your golden undertones and yellow warmth from the previous question.
Too yellow hair does make faces red, especially True and Soft Summer, I find. But then, there’s a disconnect in your comments. Dark ash with platinum sets up big distance between lightest and darkest, which I find looks right on nobody.
On Summer, their light/dark range isn’t this wide, since it goes from pastel to mid-dark, not icy light to very dark (which is Winter). And so it follows that their best highlight is not that far from the base colour, or else they look striped and severe.
On Winter, they do have this big light/dark range but putting it in the hair is only disruptive, breaking up their force. The randomness looks messy when placed on a colour language that is very far from random. Of course, nothing applies to everybody and you can’t generalize about hair colour across an entire Tone. Some Lights are not flattered by highlights either.
3/4 of women would say their natural hair colour is bland. Not remotely true but media has taught us that it is so they could sell us hair colour. The hair industry, ay? Their biggest problem is that they think they’re fine. Many women would not attest to that – the same ones who bought $40 a bottle of wrong foundation colour. Women love their colourist most of the time. We feel real friendship and loyalty. But regarding our faith that we really are wearing our very best hair colour? Not so sure. Hair is a trend-driven industry – highlights, lowlights, we’ve never tried copper, let’s go lighter. We only have one skin colour. It is illogical that we could be flattered by five hair colours. Become the expert of your own appearance.
Until you are wearing your best clothes and makeup, your natural hair colour will not appear as beautiful and perfect as it is – so I advise women after a PCA to make one trip to the salon to get the heat level set right and come closer to their natural colour. Then leave the hair for a few weeks and work on the clothes and makeup. Your eyes need time to readjust to the real original you and to absorb how your better colours affect your apparent hair colour by making it look perfect and ideal. Then you can really see your hair colour and you can go back to the salon, hopefully only one more time, and finish the fine tuning.
Also, once a woman has had many hair colours, she and those who have seen all those colours can’t make a solid judgment any longer. There’s just too much history swirling around. Someone outside your box needs to touch the reset button. I nominate your friendly neighbourhood colour analyst.
I am at a loss as to what color to dye my hair.
I’m at a loss too till your colours are accurately analyzed. You are like 98% of the real people in the real world who seem conflicting. You’re not. Nobody is. Everyone’s colours make complete sense.
Once we have your Tone understood, every single aspect of your colouring and the colour decisions to follow are consistent and coherent. It’s not even hard. Once we know the truth, each one of us is very logical and connected in our colouring.
But. Even knowing your Tone, I still couldn’t give blanket hair colour advice that would cover every woman equally well. Everyone makes her own darkness adjustment within a Tone. Not everyone is necessarily improved by departure from her natural hair as it grows out of her head. And for nobody is this more true than the Bright Seasons.
Art and Science
Not being able to explain a thing doesn’t make it not true.
C. said it so beautifully here,
…the science of light, the discovery that it is both particle and wave and how it behaves erratically when observed. So nature is evasive and we can not reduce everything in the world around us to neat mathematical equations
….artists working in isolation through history have been representing through symbol what scientists have been discovering in the lab at the same(ish) time and not even known it. Think of the cubists and surrealists relating back to Einstein’s new world of curved space and the theory of relativity, or the complex inherent patterns in Jackson Pollocks’ work reflecting a new understanding of the complex, previously overlooked patterns in nature.
It seems artists, at least revolutionary ones, had/have a deep unconscious understanding of the stuff of the universe and represent it through symbol before we have the words or the science to explain.
All of these threads…point in the same direction. Colour theory, it seems, is not about finding the best lipstick. It is recognizing we are made of the stuff of the stars and finding our place in the universe.
Still lunar and fluid like all Summer, still vaporous, but with a dimensional quality, like a silvery apparition, the hologram we discussed in Part 1. Soft Summer does not have a feeling of steps. What these fairly-light and fairly-dark colours do is flow smoothly.
“Can the Soft Summer archetype as you model it have a warmer embodiment?…mostly we’re compared to water spirits (which imagery I do love). I wonder if we could have a warmer side that’s maybe more of a mountain spirit?Â I do have warm-leaning eyes and some warmth in my hair, but yes, the SA drapes turn me yellow. Even so, gold, brass, copper, and rose gold are better on me than silver or pewter, which tend to just sit there on me.”
She makes an important point that applies to many Soft Summer. That warmer incarnation is certainly in my head, but maybe not always in my words and images.Â Something that comes up often for me is that I see many who are very borderline Soft Summer/Soft Autumn. They’re like the neutralest of the Neutrals, positioned almost even between those two Neutral Seasons. To see the eyes alone, you’ll pick the warmer Season for sure, except that the skin yellows with drapes. On these women, silver (not overly cold and shiny) and gold (not overly yellow and shiny) are about equal.
Soft Summer warms and solidifies significantly relative to True Summer imagery. In my book (over in the right column), we went from a lake to a forest. Hopefully, the Polyvores below portray that.
About shimmer, Paisley said,
As long as the iridescence doesn’t take the color too high, I think iridescent makeup is gorgeous on us. Also your makeup style depends on your Kibbe. Having been identified as a Romantic, I was relieved to read Kibbe’s recommendation that even daytime makeup should have some sparkle. I think very softly glowing making adds to the misty factor, as do finishing powders that are pearlescent. The point being to keep it soft-focus — it’s can’t go toward metallic in any way. But glowing and pearlescent is gorgeous on us, IMO.
And IMO, you’re exactly right, Paisley. I can not say it as well as a woman who lives it.
Seems to me that part of the shimmer, maybe all of it, is explained by the equiluminant property of this palette. Rendered in B&W, it would appear to be just a few shades of grey and much of the detail would disappear. Bring in colour and the combinations are pure melody. Everyone of the 12 Seasons soars depending on what you can do with it. For Soft Summer, it’s in the allure that happens when these colours are worn together on this type of colouring.
Why? Because vision in our brain operates on two parallel tracks. The colour system recognizes faces, objects, and details. The B&W system sees movement, depth, and position. Â In equiluminant compositions or outfits, the colorblind B&W track won’t quite be able to tell the location of the elements. But the colour track will see the elements well. This disconnect gives these compositions an unstable, shimmery, unearthly feeling. We talked about it in Part 1. Sorry for repeating, it is so amazing to me.
The SD body has presence. The horizontal shoulder line is substantial and the vertical line equally so. I am not a Kibbexpert, but narrow, petite, or slender wouldn’t be words I’d associate with Soft Dramatic. If someone picked those words for you over Amazonian, I’d have to wonder about another Image Identity. If you look at Images for Raquel Welch, she is luscious-yes, dumpling-no. Compared to other body types, these are a little burly. A lot of size, strength, and length in the upper and lower body.
Kibbe Soft Dramatic (SD)
- broad shoulders, a strong horizontal line
- a long bold sweeping vertical line
- drape, flow, light fabric ; soft plush – so far, great on Soft Summmer
- shiny fabric – for Soft Summer, this looks like the lustre of pearl and abalone shell ; go past it and your colouring will make the fabric shinier than it is and the fabric will make your face more muted
Many Summers ask if they look good in pearls. They absolutely do, taking into account your body’s geometry. Classics wear the classic strand(s) better than one big-huge piece. Dramatic bodies need big and geometric shapes to include the necessary angularity that balances who they already are.
We’ve talked about what looks like black and white on you in Black and White for 12 Seasons. Once you learn to manipulate what you wear to look like B&W or black&red or whatever on you without actually wearing those colours, you have cracked the code. You can achieve any look without ever venturing into unflattering colour by knowing how your own colouring exerts influence over what you wear. How do you do this? Wear your 12 Season Sci\ART palette. Job done.
Mr. K talks about bold and dramatic colour combinations. Great. Use your palette and go wild. Don’t compare your bold and dramatic to how Mr. Spock would get there.
Contrast levels are high here. First, it increases the drama and boldness. Second, I’ve rethought this whole contrast thing – 3! videos coming up about that in another post.
- Head to Toe.
- T with rounded edges, always the vertical and horizontal lines.
- Luxe and glamour.
- Colour repetition works well to give flow and continue a vertical line.
- Not stiff, tight, shapeless, sharpÂ of drape.
- Lots of length. Strong geometrics with soft edges.
- If you don’t like the muted purples, don’t wear them as clothes. But they make darn good eyeshadow.
- Wear your hair colour on your feet.
Enlarged the jewelry to be big. With her size and the very generous amount of Yang, jewelry needs to be scaled way up or she’ll dial it down into a dime store trinket.
For the day of the week you go to the office, not the opera, there are shoes here that won’t punish your back and feet. The guys wouldn’t put up with that. Why should we?
Soft Summer Hair Colour
This came up on facebook but this is a good place to insert it.Â Whatever your Kibbe or Season,
When do highlights in the hair look right?Â When the distance between the lightest and darkest approximates that in the rest of the colouring (except if you’re a Winter (where contrast rules are unique and addressed in those 3! videos)). That’s how the hair can be a realistic extension of the head.
Summer’s light colours are pastels, more ‘colourful’ than Winter’s icy colours. Also, their darks don’t get extremely dark. So there is not a big distance between the lightest and darkest colours. Soft Summer begins from a darker base colour position than the other Summers. Applying the pastel concept, their highlight will be darker than the other Summers too.Â Message for colourist: don’t overbleach or add back toners that are too light.
Use a taupe highlight, like medium mushroon, for a tone on tone look. The colour is in your swatches. It is cooler than it is warm. But be careful. Someone sees warmth in the eye and the very neutrality of the skin and overestimates the warmth. Soft Summer is often getting coloured way too light and yellow so the face goes oily and yellow. This is not a butterscotch light, it’s taupe.
Also be careful again. That dusty quality in the hair is essential to bring the roses out of the skin. I mean, essential. Don’t stare at your hair colour and not see the whole like we do. Don’t compare your hair to anyone except other perfect Soft Summer hair, like Princess Kate. Would she look better with saturated hair? No way. Highlights? Absolutely not to me.
Start with a colour a couple of shades lighter than the base, usually a medium ash brown And be careful once again. Chemical colour is often very saturated and looks darker than expected, like saturated cosmetics do. So you might even go a few shades lighter than the base to compensate.
If you can keep 80% of the hair as totally unprocessed, much better to give the skin harmony and perfecting potential that chemistry so skillfully removes with chemical pigments. Make highlights filaments, not chunks.
How about this? Â Look at the before. Cooler than warm but not pure ash cool silvery brown. The highlights on the right side of your screen (not the model) are pretty good in the lower half of the hair. On the other side, the eye can get caught up on the too-light strands. Soft Summer’s total expression is Summer colours in shade. Still, those too light strands are at least cool beige, not platinum, not yellow or orange. The base is pretty darn good for a Soft Summer. I like it. (IDK if this model is a Soft Summer, it’s just about the hair).
The body types being referred to below come from David Kibbe’s excellent book on the subject, Metamorphosis (1987). For me this is the book that works, IF you can find yourself. It’s harder than you’d think. I am asked to offer it as part of PCA appts, which I’d gladly do if it could be objectified. As long as it’s just my opinion or Mr. Kibbe calls me to train with him, the client won’t get her ROI (return on investment).
Searching for the Soft Dramatic Body
She has a lush, exotic quality to her features. Angelina Jolie? Maybe if her head were on Sharon Stone’s body. This is where it becomes anyone’s opinion, but to me, her body is too small and compact, her expression is very open and giving and the features are too Yin. She’s not physcially big enough to embody Diva. Height does matter somewhat. This is an imposing physical presence that seems bigger than it is at any height. An SD woman commands her space.
If Phyllisha Rashad is Dramatic Classic (DC), SD is more physically Yang than that. Even a DC could drown in all the fabric draping of SD, or look that way even with the draping scaled down to her size, as if she’s wearing curtains.
I wonder if IRL, Angelina’s proportions would have that Hollywood quality of large head/small body that photograpshs well. JAniston has that too. Whitney Houston would be very close to SD and often dressed that way.
SD and Flamboyant Natural (FN) are close in my head. What separates them is the FN’s ability to still wear sweats and eat popcorn. The SD is not nearly as accessible or approachable. She has a more formal energy all the time. She doesn’t own sweats and can barely force herself into yoga wear, but she’s easy to imagine with a tennis racket, on a skateboard, running on the beach at 6am without makeup. Movement is key for the Naturals.
Naomi Campbell? Perhaps, but she seems very slender.
Linda Evangelista? Very possible.
Someone smart suggested Kate Winslet as a Soft Dramatic (and very possibly Soft Summer). That’s a great choice. Big body. Lush, large features with a lot of overall Yang energy, too much to assign her curviness to the Romantic or Soft Classic group.
Visual Processing and The Soft Summer Palette
Neurochemical information travels millions of pathways from retina to various centers in the brain. That’s just the beginning of how an image forms. Neuropsychology kicks in and modifies the retinal data to adjust for lighting, experience, and assumptions as the brain strives to make sense of what it sees, and of course, of surrounding colours.
We appreciate that seasonal or 12 Season colour analysis is based on simultaneous contrast, the fact that two colours side-by-side change one another in our perception.Â Soft Summer is a most spectacular Season but we can too easily focus on “those colours are dull” instead of what that very ‘dullness’ makes them capable of that no other can do.
For all three Summers, the ability of adjacent versions of the same hue but differing values to appear 3D, to advance and recede, is central to (my) understanding (of) those Seasons. On Summer colouring, monochromatic colour schemes lose their flatness and give the illusion of a rounded, touchable image. Why the Summers? Because they’re cool-colour (blue-based) colours, so when their value is made darker by adding dark grey or black, they remain blue and they do so across the light/dark band. They don’t turn green or purple. Â This works especially well with the True and Soft whose colours are muted, which our brains interpret as ‘far’, establishing a depth relationship.
Because of how edges are discerned at the level of the retina, we have more difficulty understanding edges. Monochromatics are even more challenging for discerning edges. They seem to move. They come and go and float around. With even the slight influence of Autumn in this Neutral Season Soft Summer colour collection, this 3D effect from contiguous monochromatics moves to a whole new level.
Over the Autumn palette’s span, which has influence in five different groups of natural colouring, the theme is dimensionality. It’s been called texture, strength, rope, weave, all expressing a similar notion of how this colour language speaks most clearly. Soft Summer steps up from the early 3D effect above that works so well on True Summer, to the phenomenon of the hologram. Still shimmery, more 3D.
With no good evidence, I’ve always seen the Soft Summer composition as lost edges, a figment of the imagination, impressions of depth that might just be apparitions, uncertainty about what is real, like the ghosts of shapes that move in and out of each other, whispered suggestion, signals you’re not sure you heard or saw, phantoms moving in and out of your perception. Â The colours made sense tome that way. Finally someone smarter than I am explained it to me: equiluminance.
Luminance means the intensity of emitted light from a surface. That’s not exactly the same as light/dark levels or value because the trunk of a birch tree in shade and one of its leaves in sun may emit similar light at that moment, but in some ways, our brain sees luminance as value. Equiluminance means equal value or light/dark level.
The brain uses its luminance pathways (gray scale, black to white, value) to inform us about position (Where). The chromatic pathways (colour) tells us what things are, their forms and shapes (What). Take away colour and we can’t discern what things are quite as well.
Without colour, the painting looks 2D by the loss of detail in depth. The examples above come from this great website where you’ll find many more great examples.
When colour transitions are gradual because they are of similar value, our colour perceptive brain pathways (or chromatic pathways) are activated but our luminance pathways are not. We feel a little unsure of shape, position, and motion. We have trouble placing forms and objects. In Soft Summer, where saturation is low and values are medium, the colour combinations are exquisite to the point of being supernatural because shapes seem less stable.
The Sci\ART palettes make all this that I talk about happen automatically. Those palettes put these visions in my head, not the other way around. You don’t have to do much other than wear your colours.
Apparel in Part 2. Next article, I promise.