How do members of a Season borrow colours into their wardrobe successfully? All sorts of diagrams exist to assist people of certain colouring, or Season, in finding clothing colours that are not within their palette.
Examples you might see include,
- True Summer and True Winter – because they’re both very cool
- Dark Winter and Soft Summer, which have a similar relationship as Bright Winter and Light Summer – because all four begin with a cool palette and each pair adds the same amount of the same kind of warmth, Autumn gold and Spring yellow respectively
- Dark Autumn/Bright Spring and Light Spring/Soft Autumn – because if you map the Seasons in a progression around a circle, the same relationship exists between these pairs as the ones above. Both begin with a warm palette and add the same amount of the same type of coolness, Winter’s or Summer’s, respectively
These generalities are best applied only to certain colours. On the whole, I’m not sure how well they serve outside the theory. I don’t believe in second-best and runner-up Seasons. They don’t exist. Any Season could absorb various colours from various other Seasons quite nicely.
In the examples above, only the heat level is being factored in, placing too much emphasis on it. The other two dimensions matter will matter a lot when the medium-browns are put under the faces. Certain pinks might slide by though.
At least for Dark Winter/Soft Summer, the heat is the same type, Autumn’s. The third example is ignoring the very different kind of heat in Autumn and Spring colours. In many cases, the worst colours for one can be found in the other warm palette. A blue-eyed Dark Autumn can have some similarities with Bright Spring’s appearance, as can the green-gold eyed Bright Spring with Dark Autumn – if they read about them, but not if they wear them. Many of the colours can be weirdly unpleasant on the opposite person.
Even at a tiny level of Autumn, Spring warmth can look like an odd, greasy, abalone shell event on Soft Summer skin. Except the eyes. Eyes are always true. Soft Summer eyes just sit there in this iridescent face looking estranged. It’s as psychologically awkward as when I wear cat eye, glittery sunglasses, to which people react in most uncomfortable (and entertaining, if you like watching that sort of thing to illustrate a point, which I do) ways.
Why might broad guidelines only work for some colours but not all the colours? They make an assumption that every person inside a Season will react to every colour in the same way. Not true at all.
Three True Springs would have three different paths through the draping sequence. Not every drape in Test or Luxury is perfect on every person in that group. It is simply the best decision in a constellation of 10 – 15 observations.
To this day, about 300, maybe more, PCAs later, I still take time to write what I learned from each one. I had to see about 12, sometimes 25+ (Bright Winter for instance), of each Season to have trouble coming up with something new. For the Trues, I have seen about 6 of each, so each one is still quite new, not counting True Summer at 19. I will never stop learning from True Seasons.
Why shouldn’t every drape be our best drape? Because there is so much fluidity needed to perfectly repeat the millions of ways in which Nature painted all the people of any given Season. Because every instrument does not play an equal role in a symphony. A thousand reasons that this website has thought about, and many more that it hasn’t.
The natural order of colour
The world is full of concepts that have one meaning in theory and another in practice. As much as humans love to pigeonhole and predict, we live in a massively variable Universe. It might look random and messy. Humans devote large amounts of time to resisting this in favour of rules. We like the security of the restrictions and the ropes.
We understand that the Universe is neither messy or random. It’s infinitely organized, with complexity and levels far beyond anything our rules can capture. What we should be resisting are all the rules. They’re too simplified.
Amelia Butler at True Colour Australia posted the series, Tonal Contentment vs Tonal Restlessness, in several parts, here to her blog at Colour and The Human Being. So comprehensively, Amelia takes us back to what the Sci\ART palettes were intended to be and reflects on their application today. Amelia makes many valid and useful points, covering a wide range of colour applications.
There can be much critiquing of PCA philosophy and method. What works for some won’t for others, the difference relating equally to the conscious and unconscious colour persuasions of the person as to their colouring. Some answers should be sought elsewhere.
The Sci\ART 12-Tone system really is the gold standard of human colour analysis, as Amelia says. Once an analyst has worked with the system, there is not much traffic back the other way. Until an analyst, or anyone, has seen 10 or 20 PCAs, they barely scratch the surface of understanding it. I barely scratch that surface, in the same way that I barely understand how Nature is coloured, and am in awe of both. The more you know, the more you realize how little you know, right?
Perhaps, our Tone is more of an expression of our position and energy equivalence in the natural world. We are inextricably spun with wool from the same spinning wheel as all of Nature. Social conditioning pulls us in the opposite direction. That’s fine. We live, work, dress, and learn our life lessons in societies. We are barely aware of imposing our social and psychological conditioning on our every decision.
The Natural world is not Fashion. They have so little meaning and purpose in common. Why did I use up energy trying to overlap them? It was exhausting, like forcing astronomy to be astrology. The harder I tried, the more I realized how different they are. There was no point. Now I’m coming out the other side.
I relax and let each fulfill its purpose. Nature isn’t right or wrong. It just is. We don’t talk about how tree leaves should be a different shade of green to fit the picture better. It is what it is. It follows a natural order. So do the Sci\ART palettes. If you’d like a fashion green sweater in your composition, wear it.
Today, the confidence of experience releases me from defending Kathryn’s colour system any more than I would any image Nature put together, though I used to when I was younger (as I will tell anyone who will listen, it’s because I rationalize and justify everything, including emotion and instinct, being an Enneagram Type 1).
Enneagrams and watching Sherlock on BBC are my life right now. It might bore you if you knew me. I would try not to talk about it all the time, but then we’d talk about my other favourite topic, The Universe and Our Highest Potential, which brings us right back to E Type 1. How hard is it to hit the Escape key on ourselves? Quite. Ask anyone who’s had a PCA. The best way to approach having your colouring analyzed is as a stranger to yourself. The face in the mirror is a woman you don’t know. She’s just a person picked from a crowd. You have no idea about what she likes, what she’s been told, how she’s been hurt, or what makes her feel happiness. Nearly impossible to do.
Sometimes you have to go backwards to move forward. Like being inside an ascending tunnel, you think you’re repeating and repeating instead of climbing because the walls always look the same. But we do mature, part of which is repeating the same lessons at higher levels. These days, Kathryn’s colour system feels to me like a true witness to how colour is in our world. To my eyes, that is more than enough, and more than enough privilege to bring other people closer to their place in the scheme of it all to last me the rest of my days.
We can look better, shop better, be more true to ourselves, and still find a thousand personal self-expressions without creating any disruptions in the Universe. But then, we Enneagram Type 1′s who read on this page (under Adaptive Behavioral Schema) learn that…
They have a highly developed and practiced intuition for when someone or something is doing what it is supposed to do. A being is good when it is fully itself and when it is fully doing what it is meant to do.
If you can’t begin with an agreement that Nature provides us with the most perfect colour harmonies inside and around ourselves, and that our dress looks best as a faithful extension of that, well now, it might be best to get other opinions for your clothing colour system. Actually, it’s a good idea to get many opinions on anything.
The colours of objects are tightly related to the unifying properties of the light shining on them. You can only get back the wavelengths that you put in. If you put in more reds and yellows and less blues, that’s what’s going to come back. If you put in no light, you get back no colours, like the picture above.
First was the Light, which changed in a regular and predictable way. Then came the objects that developed as they did because they needed something from all the particular Lights. The Lights determined not just how they look but what they are, which energy level they hold. If the Lights had been different, the objects and life forms would have been otherwise. And then evolved the human sense of sight, also customized so perfectly to all the Lights. There might have been other possible anatomies to allow sight, but this is the one that is. And so it was from the beginning, you know?
Finally, came colour analysis. I love it most when it remembers where it began, as the beautiful partnership with Nature’s designs that became possible. Some of the landscapes Rachel is pinning on her 12 Season boards are blowing away anything I could have imagined. That Dark Winter locomotive image, what a vision Rachel has. The Sci\ART system captivated me 5 years ago and it does so today, tenfold. PCA systems should not be adapted to fashion, just as women’s bodies should not be. That’s a mess on too many levels and can’t hold up to real world use. Start with the way light is, the way sight is, and the way real bodies are made. Build the fashion thing on top of that.
Although it translates completely to fashion, you can step outside it at any time. This is not a limitation of the palette. The palette is an intrinsic center from which you can radiate in beautiful and important expansions of yourself. We gotta start somewhere to sort out some kind of relationship between us and the colour free-for-all at the mall. The Sci\ART system is the one that is most rational to me.
Nature is at once the most soothing and the most re-energizing environment there is. It is a relief from the disharmonies to all five senses to which we are subjected for most of the day. The relief in natural compositions somehow leads to those that also the most exciting.
Could they be even more exciting? Sure. Nature constantly steps outside the colour charts. And yet, every colour is able to dissolve into the image. Artists do it all the time. An addition of outsider of colour can be more happy and auspicious, more evocative, both stimulating and very belonging.
Which brings us back to our topic. How do we add colour flexibility that feels passionate and exciting, but still relevant to the wearer?
The colours we are made of are so beautifully unique to us. How can we bring that individuality into our self-expression?
I think that when color analysts talk about sharing colors, they have to specify whether they are discussing a technical situation, such as a draping, where no amount of colour compromise can be tolerated, or whether they are discussing a shopping or retail situation, where some compromise will have to be acceptable and could even be good.
I also believe that which colours are best borrowed are decided one woman at a time, with her analyst, after a thorough draping. I hope that everyone knows of Terry’s articles outlining the steps in a proper PCA, the latest installment addresses clearing the skin, linked here.
Let me think of some situations:
1. From above, and very common, Dark Winter and Soft Summer. When they shop, Dark Winter could manage some darker Soft Summer clothes. Overall, they would do better shopping in True Summer and staying with medium to dark colours. Pastel lights are not welcomed by Dark Season skin.
A Soft Summer keeps her darkness dusty or her clothes weigh her down. Of all the Summers, Soft will wear Dark Winter colours best, but because the colours are all more intensely pigmented than she is, this person will give some of their power away to their clothing.
2. If an important dimension of colour (hue/value/chroma) is satisfied, certain colors are quite tolerable by more than one group. There are yellows, oranges, and reds that could be worn very well by True Autumn and True Spring. Orange is especially easy, including many browns, brown being dark orange. These colours are inherently warm. From above, True Summer and True Winter could share some pinks and purples, which might appear dark and strong on True Summer and medium on True Winter.
3. The person’s inherent colouring should be considered. A blue-eyed person will be able to wear blue from a few more neighbouring Seasons than a brown-eyed person might. Just coming close to repeating our own colouring is visually effective for connecting us to our clothing.
Even inside a Season, a Bright Spring with cider, amber, and clear orange in the hair and eyes could wear their intense dark yellow much better than a Bright Spring who has silver hair and blue eyes. For the aqua eyed Bright Spring, those yellows might never be more than an occasional stripe in a tie or the thread to sew on some buttons.
Sometimes, Dark Winter has the very same yellows in the eyes as a Dark Autumn, or close enough to be extremely interesting. No Dark Winter will really wear a big block of Anjou pear or chartreuse excitingly, but a small piece of it somewhere near the face can be most intriguing.
4. Exactly which colour is it were discussing? Blue might be easier to share among True and Light Summer than yellow, which less of a meet-you-halfway colour for very cool colourings. The 3 Springs could move yellow around quite easily. It almost dissolves into them, so naturally does it occur. It soaks into the picture and the colours around it adjust it the rest of the way.
You’d think red could move across the Bright and Dark Winter, where it is very successful, red being a core colour for Winter. It can work but not easily. Your best guess at the Season a red belongs in is probably decent. Red has strong identity in our eyes and is reactive against skin. Beige, coral, and turquoise are harder to guess and are less dictatorial next to skin.
Light Spring and Soft Autumn could move some yellows back and forth. The rest of the colours, not so much, not even the neutrals. Lay the opened Soft Autumn fan book on a Light Spring fabric. The neutrals, loosely translated as many of the complexion colours, might turn peculiarly greenish. That’s exactly what that fabric will do to the Light Spring face. Yes, both are warm-neutrals, but they do not appreciate one another’s type of heat or darkness level.
5. It depends where the coloring falls on the Season continuum. Our colouring doesn’t sit on a dot in a clock diagram. It spans a stretch halfway between the neighbours on each side. At least, that’s how it looks on a flat map. Really, it swirls around inside a spherical structure. In a Season, parts of it switch on and interconnect just like in a lit-up brain scan.
We are so used to flat images that we forget how very dimensional our world is. Energy isn’t a wave. Look at the wave end on. It’s a spiral. Hence, that purple snail shell logo at the top. Maybe one day, they’ll find that it’s actually a spiral inside a spiral, a double helix, a Universe at the center of every cell. Very appealing to think about. Don’t worry if you have no idea what I’m talking about. Trust me, you are not alone. I’m really quite medium and normal in person Really.
A warm Soft Summer and many a cool Soft Summer could happily wear the cooler greens and blues of Soft Autumn. Their reds and yellows? Not so much. Neutral Seasons can wear some of the neighbour colours of close heat, but not all of them will do them favours.
6. If Dark Autumn and Bright Spring were to share, how would they do it? If we agree that the size of the color block is large and right under the face, it’s a bit challenging to figure out. They sure wouldn’t crossover in the light or medium darkness colors. There may be some dark forest greens that could work okay but not much more than that that I could see.
7. Where will the colour be worn? Gray and navy are very adaptable colours to begin with, and more so if you situate them in the lower half. If it’s footwear or sunglasses, the viewer implicitly factors in functionality and expects that they may be darker than a scarf would be.
8. Have confidence in your individuality. Enjoy it. It’s the best part of this whole thing.
9. Where do you want your focal point to be today? Let the statement necklace or the violet purse own the day.
10. Get your lines right. This is quite major. Has anyone seen the pictures of Princess Kate that I pinned recently on the Shopping for Your Season and Style board? In the eyelet dress, colour correct, the image is clumsy. In the yellow dress, probably a Dark Winter yellow, she looks fantastic. The more bits and pieces of the whole are excellent, the more they draw in the rest.
You may remember the question from the reader who felt uncertain with learning that her colouring falls into the True Winter group, and how to reconcile it with the drama that is usually depicted for that group. As if ‘decadent glamour’ is the only kind of glamour or has only one interpretation. Pfff. Limited, limited.
Her question was a great one. Find it in the article, True Winter Sans Drama and A Gentle Dark Autumn. She recently visited Rachel to be draped, confirming True Winter, and for a PIA (Personal Image Analysis). As a Yang Natural, her version of glamour (and we all have one) is not Dynasty, which is the usual TW stereotype.
By expressing True Winter in certain textures and prints, the right cut of pants, belonging shapes and styles in jewelry, the True Winter palette has become a happy home. Snow leopard effects!? On a True Winter Natural woman? That’s so good, it shook up my world when I read it.
In her words,
So, I now finally feel like I know what to wear and what to look for and what to just ignore…it was difficult for me to figure out having a natural style along with TW, but now, I’m finally able to put it all together!
Like hair colour, sharing is a colour by colour, person by person, adaptation that a colour analyst can make for each client. All she needs to do is watch how their skin reacts to a variety of measured colours.
I send clients a nutshell digest of their draping experience, how their skin reacted to certain colours, addressing how they fall outside the majority of the written information for the Season, and any particular questions they had. The experience is just too big, too technical, too mentally stimulating, and too emotional to absorb it all and have it available 6 months later. It would be like hoping to recall every word the dentist said about all 32 of your teeth from your check-up last summer. For instance, I sent this little summary recently:
It is very common in all colouring at any age to find that the particular colour in the drapes for their Season is not necessarily their best version of that colour. This is especially so for Bright Winter. As testified by your eye colours, you are lighter and warmer than the average appearance and colour reactions in this group. Many persons of this colouring cannot wear the extremes of the palette till they have fully darkened with maturity, around the age of 30.
When Bright Winter colours were excellent, they were breathtakingly so, an effect no other Season could match in any colour. The usual caution exists for this Winter Season to avoid the blackest black, which will be especially relevant for you. Choose darkest charcoal instead, preferably with a slight sheen if the occasion permits. Dark navy did not have the darkening effect of black – it is common for people with Spring influence to be much more tolerant of ‘colour colours’ than of black (which gets too dark), white (which may be glowy unless right), and gray (which may lack the excitement of colour that you wear so natively).
You were easily able to wear the coolest positions in your Season and the warmest, as long as the colour were light to medium on a darkness scale. For these choices, always choose a Bright Winter colour. If the realities of shopping require some compromise, the darker Bright Spring colours might be the place to borrow.
The lighter and brighter colours for Dark Winter are presented today.
Why call the Season Dark? It’s a source of confusion because it so easily gives rise to misinterpretation, almost forcing the idea of a certain appearance.
I’m certainly guilty of using formulas in writing to try to come up with word pictures. Most industries have those “It looks like…” and “Most…” analogies to help students understand and to share experience.
“Dramatic body types look like a statue.” (my invention)
“Most dogs with slipped discs that can still wag their tail will walk again.”
Yes, of course, some don’t. What’s a teacher to do? People want the learning from real life stories, pictures, and questions, but not theirs, even though theirs are far better than anything I can come up with. We find ourselves speaking in terms of bell curves. There will always be those who fall outside them.
What Really Matters: Do not let stereotypes, formulas, or “You look like a…” anywhere near the analysis process itself.
For the Dark Season colouring, the idea exists that the person has to look dark. Not so. I don’t. I could never get those belief systems to work when I tried to apply them to real people.
That they have to wear all dark colours. No. They could and look better than other types of colouring but who’s going to do that every day and be the best version of themselves? After a week of it, people will start ignoring your clothes for always being the same.
So why call them Dark?
It has to be called something. Dark, Bright, Light, etc, are historical terms in the PCA industry, dating back to I know not when or whom.
Should we change the word? No, I propose that we change the definition instead. Take the word Season. One could say that it’s outdated and not self-explanatory. Maybe, but it is recognizable in the natural world, short, spell-able, search-able, familiar, understandable (which does the public understand more correctly about a colour, ‘value’ or ‘darkness’?) and lots of other good things. We just need to take its meaning as ‘group of natural colouring’. There won’t be one single perfect in every way terminology. Much more needs doing than re-inventing a wheel.
For Dark, Bright, etc., I make an argument in this way: I am of the belief that we cannot know which of the 3 dimensions of colour (light/dark, warm/cool, soft/bright) will matter the most on a person’s colouring merely by looking at them. There is no medium-medium-medium person. There will be 2 dimensions that are medium, or close, and 1 that will be more High/Low. Because we cannot judge the heat level or saturation of other people, we over-emphasize the importance of their darkness. Or else, we merge darkness level with saturation, since, when we imagine a saturated colour, we also tend to darken it. All persons must be draped, but even with excellent drapes, it can be difficult.
All of our faces are in perfect colour equilibrium by Nature. We see this perfectly tuned balance in every person and since nothing looks out of place, we assume that everything is medium. This is why folks are mystified when they’ve been analyzed as a Soft Summer and a Bright Winter. How could that be? Aren’t they opposites? Just because they lie opposite one another on a colour clock graphic doesn’t mean that they’re opposite. Those clocks are like a map. Are Vancouver and Montreal opposite? Yes and no. Depends what the question is asking. Both cities are the same for being Canadian. Soft Summer and Bright Winter faces are the same for being as perfectly balanced as every face is.
Even speaking theoretically, they’re not opposite. In fact, they have some dimensions in opposition and some very similar when the colours are measured. Both are cool neutrals and both are medium-dark. That’s a big amount of similarity. Where they differ is saturation, the hardest one to judge. But you must know how to measure, and how to measure the 3 dimensions independently because that’s how they are set in our colouring. The 3 don’t go up or down together.
On a Dark Season, the High/Low is value of colour. On the Low value side, when a colour is darker, whether its warmth and brightness drift a little up and down doesn’t matter too much. The harmonic correlation remains quite agreeable as long as colour is dark. Value is the thing about them that is not medium. In True Summer drapes, a Dark Winter can be truly weak until the colour becomes darker. Then the skin gets along. It finds a little muting that it likes, a trace of warmth (compared to True Winter) that feels right, and its beloved darkness. We see this again as we progress through the darkness levels of the Red Drapes. They never get too dark.
The opposite is true too. On the High value side, when a colour is light, it’s either right or the person is a washout. It can be hard to read the lightest level of Red Drapes because the skin says, “Meh, meh, and meh.” since none of the colours belongs to Dark Winter in that set of drapes. An analyst who knows how to read the Red Drapes, which are very different in their interpretation than the other drapes, gets along just fine.
Could a person be medium-high-high on the 3 colour scales? I’ve seen fabric would be close. Humans are not coloured with the same pigments as textiles so I don’t know if the same rules apply. Nature is a chemistry set of unlimited possibility and I’m certain that these people exist. I also do not know if human pigment genetics must follow the rules of Munsell (or any) colour space, which are human constructs – but they’re human constructs about colour relationships where certain rules always apply. Blue does get darker as it gets more saturated.
Anyhow, I do know that in science and in PCA, how it looks is not data. If it were, the Earth would still be flat. We must measure something and know how to read our rulers.
A Dark Autumn asked,
I seem to always wear the colours from the light to center sections of my fan. I don’t understand why the darkest of the Dark Autumn colors, especially the purples, seem to drain me.
If the dark colours being chosen are a bit too blue, which happens easily with purple, this will make shadows darker. We all have a native, normal shadow colour. If it’s distorted, as by making it too blue, the effect will not be flattering.
If the dark colours being chosen are less saturated than the lighter colours being worn, the darks might not be preferred, despite being a Dark Season. Depending on the person, Dark Autumn will not have the best quality of complexion in True Autumn saturation. With 2 dimensions (value and saturation) that can be on or off, the mix and match possibilities of what’s really the problem are bigger.
Lightness and clarity can appear to add some lift in many women, which is why so many of them get put into Spring. An untrained eye might see this and forget to take into account all the other factors.
Most of us tend to wear colours from the center of the fan. They’re easiest to be aware of. If your eyes are used to seeing you in these, they may have trouble making an objective assessment of darker colours.
If pre-PCA, you believed yourself to be a lighter Season, it may take time to become accustomed to the power of the darkness (no puns of any sort). Darkness resonates strongly here. It sends a special message on this colouring more than any other. Amazing how long it takes to fully step into and claim our own power. We find all sorts of reasons why it shouldn’t be so.
A Dark Winter asked,
I would love to see a post on using the cool, heavy, regal colors in a climate that’s melting with heat and humidity.
Dark Winter is like True Winter but a little warmer and duller, but not as much as if it were done in newsprint. To me, it looks more warmer than duller, but I’m no better at judging these little increments than anyone else.
There are a lot of neutrals in these Polyvores, because I like them on this colouring. I find them great in summer and to offset the ‘colour colours’, and far more interesting against summer backgrounds than winter backgrounds. The contrast between summertime and the “heavy and regal” is even more pronounced, which feels a little exciting.
Remember that we haven’t accessorized anything yet. Shoes, bags, jewelry can all add as much or as little colour as you like.
Many skirts and dresses. Colours and prints feel better here than in pants. I’m not a purple pants person, though anybody could be, especially a Gamine. White pants, ditto. Jacqueline Kennedy had white Capris that were good with her black T-shirt, huge glasses, and scarf.
The overall darkness level is up to you. My eyes prefer an overall medium to dark totality over an all light one. The coral dress in 4 below is as light as I’d go for an head to toe level (picture it on a B&W TV). The light pants and colour-blocked gray top in the bottom left of 4 is too light. The model wears it well enough but I doubt that her native darkness level is that of Dark Winter. Nor do I think her inherent heat level is of the same type, level, or both, as Dark Winter.
When we train a colour analyst, the student learns to look at the image in the mirror in terms of 3 distinct dimensions. You could try this too. Don’t compare an person and their clothing and think in terms of Seasons. It’s way too convoluted. Think, “Would I adjust the darkness?”, “Does the warmth level feel like a match?”, and “How do I feel about the clarity?” as 3 separate questions.
The navy and dark brown in the 12-Tone palette are near black, fine colours but not a first choice in high humidity. I’m very partial to the dark tobacco colour as a neutral, even in hot weather, maybe because it’s jungly. Love it with yellow as the dress and the skort/tank set in 4 below.
How much colour?
Up to you.
The blue/yellow/pink dress at the bottom left of 5 feels pretty good. I’m not sure it would be DW but it could be.
The strapless blue dress on the left side may be True Winter. Some Dark Winters are a little cooler. The graying and darkness of the skirt section help, compared to the entire dress being made of the bodice fabric.
At the center top of 5, the sleeveless top with tie might be Soft Summer. It’s dark enough, but dark and dusty, whereas a Winter is dark and saturated. Won’t matter. Dark Winter skin has a lot in common with Soft Summer. The contrast in the skort is Winter or close enough, and the top will balance Winter accessories. Some Dark Winters are a little softer.
For The Office
Below, a few work outfits. In warm climates, people can’t possibly wear all black to work to work, can they? If I lived in a warm place, I bet I’d wear more shine in fabric.
The flowered skirt is interesting. It shows how similar Dark Winter and True Summer are, but when an item goes to black, the True Summer person will lose energy. I pondered whether it was True Summer, in which case the black would be too strong next to the other colours, but I find it pretty well balanced. The black is in smaller areas – a nice way for the Darks and Brights to get black in their wardrobe without being overtaken by it.
The great thing about writing is that it forces you to pin down your beliefs and your reasons for them.
Paraphrasing a reader’s question:
I was reading about Bright Springs on your website and I was wondering if you could help me get an outfit visual on what natural means. I understand earthy, but natural is still confusing to me.
You have used natural in this context: True Spring; no bold lines, the blocks are distinct by colour divisions. Not misty, earthy, heavy, bold, geometric. Instead, Spring is energetic, hippie, fun, busy, buoyant, and natural (where natural is not the same as earthy).
What did I mean about Autumn and Spring being natural in their energy? What do they have in common in that way?
Every Season has associations in Nature. Summer is how water feels, of high importance to water-based life forms like us. Even in the depth of winter, Nature is extravagant. Snow on a tree branch is so much to see and think about, but the number of colours is small to the point that even black and white are colours in this context. Because of Summer’s cool haze and Winter’s cold stillness, although natural, the feeling is less animated.
What the two warm Seasons have in common is heat. Warmly coloured people wear a lot of colour well, as does the planet in warmer locations. Complementary colours, that have the ability to energize one another when worn side by side, is effective on everyone. The warmer the colouring, the closer the blocks would approach equal size. A holly bush, good Winter visual, is much more green than red. The red becomes highly effective in that context.
Natural implies that it would be seen usually in the natural world. Natural effects feel more organic, like food and flowers. The end of summer harvest and the Island Paradise depict Nature as home, security, familiar, nurturing, nourishment, warmth, shelter, and support, in ways that diamonds and sapphires do not.
The Bright Seasons wouldn’t make up an entire landscape the way that True Autumn (October harvest) and True Spring (tropical beach) would. In helping these persons understand how to dress, there is no easy landscape or imagery to refer to. A Dark Autumn could Google ‘Moroccan design interiors’ to get the colour effect (thank you to Rachel for the idea). A Light Spring could look up ‘pastel interior design’, ‘fairy landscapes’, or ‘spring flowers’ and recreate the entire scene. Googling ‘bright colour interior design’ is quite good for ideas but you’d use it selectively to make an overall look.
As the Polyvore below shows, the Bright Seasons are basically pure pigment. Search ‘design-seed.com’ on Polyvore. Lovely palettes. Beautiful, imaginative ideas to maximize the flexibility of your colour swatches.
Once Winter appears, colour effects become more synthetic, which feels modern. They feel more forced, cooperating less with what’s around them. The paradox of Winter is to be modern and permanent at once, like a diamond. When Winter overtakes Autumn, in the Dark Winter, the rustic element is pretty well gone. Many of the colours look like candy when worn by an Autumn-coloured person. When Winter is in larger proportion than Spring, in the Bright Winter, well, it gets complicated.
This may explain why this colouring is such confusion to people, and can be a challenging analysis. During our last training course, we met 5 Bright Winters -
- the Snow White
- the exotic Indian Princess
- the I’ve-always-been-told-I’m-a-Summer-but-it-doesn’t-feel-right
- the blonde-blue-eyed Winter
- the magic elf
There are a thousand more. Sydney Crosby colouring, for instance, with green-gold eyes. They drape better in Winter but their heat level approaches Bright Spring.
Since I need digressions, I’ll repeat something I said on facebook:
Season isn’t just an issue of how light or dark we look, as you know. There are darker Light Springs and very fair Bright Winters.
How warm or cool, how saturated or heathered, another human might be are very hard or impossible to judge.
So we give their light – dark level too much emphasis when we guess. This is part of why folks have so much trouble wrapping their heads around a light haired BW.
The other reason is that people are still looking for those ‘clear eyes’ that are supposed to jump out at you. BW does have a clear eye, but we can’t pick them out of a crowd because we’re not that good at judging it and they don’t look any more unusual than any other human. If you put their eyes into another Season’s face, you’d pick it up instantly.
There are many, many BW people out there. It’s not rare.
The Bright Spring colouring exists but not quite as often, at least not where I live, though still more common than the True Season colouring. I imagine the colours are occasional even when you’re standing on the Equator. A feather, a beak, in an otherwise colour-quiet body. These colours are extreme, at the limits of what colour could do in a terrestrial life form.
Bright Spring is a little special. The high purity of such plentiful colour tips it nearer man-made or magic. It’s more fantastic, more HDR photography, colour enhancement, the rare, delicate, and exceptional. How do you put such Bright colours in a print? The result is wildly energized, beyond most habitats. Colour-blocking is not natural. In Bright Spring colours, small print elements appear pixilated, also not natural.
Spring and Autumn Natural
Spring is juicy, light, sunny, clear, shiny, wet, and floaty. We should distinguish shiny as in dewy and wet (Spring), shiny as in frosty, hard, and cold (Winter), shiny as pearlescent (Summer), and shiny as in hot and metallic (Autumn). Raindrops, hearts, daisies, stars, starfish, seahorses and all baby and/or magic animals, clover (especially 4-leaf clover), belong to Spring.
Earthy is perfectly at home on Autumn colouring. Earthy to me means muted+orange. Basically, dull+warm. I ask everyone who reads this to remember that no colour is dull under the face with which it harmonizes. Same as there is no such thing as dull/mousy hair unless it’s placed next to unharmonizing colour.
Autumn is earthy, heavier, thicker, rich, drier, 3D, dense colour. In the orange sweater game below, the natural the other won’t wear is shown. Autumn keeps company with wicker, tortoiseshell, and fossil.
Lava lamps, fireworks, starbursts, and video games, are unpredictable, fun, and random. Like cartoons, Spring’s is a flatter (2D) effect.
A chess board, the regularity of the pattern, the solid figures, the serious and predictable rules, the 3D shapes and movements, feel Autumn.
Horseshoes could go either way, having both good luck charm and equestrian about them.
This is a game I enjoy. Where is the orange sweater better? [Hint: There are as many correct answers as there are tastes and preferences reading this.]
Some fabrics are muting, like wool and tweed, but that doesn’t automatically mean Autumn. Neither Spring nor Autumn are fully saturated. The orange sweater seems Autumn-ish because it’s wool-ish, but it’s also an orange-pineapple ice cream colour. It’s not so bad on the Spring side.
Would changing the wooden buttons to clear, shiny glass matter? Sure. The watch isn’t natural, but it does live in the world of fruit salad. Food is natural. Jello and LifeSavers are less natural, more Bright Spring (as this watch could be, since the numerals are white, not ivory).
Toggles, tassels, and buckles are usually Autumn territory. But really, they belong better as Yang-side symbols of Classic clothing style, prep styles and the fox hunt rather than the Yin-er dinner party. Everyone can adapt anything. Winter makes them platinum. Spring changes them to coloured plastic.
I have said that I do not believe in the existence of a group of natural colouring that blends Spring and Autumn’s colour properties. Nobody drapes equally in True Autumn and True Spring. In fact, the other Season is often the worst choice on these people. They prefer Summer (where Spring is grateful for the lightness) or Winter (where Autumn can make sense of the darkness).
Draping is a time for technical perfection. That is a long way from shopping. If shopping is rigid, you’ll get tired and give up on something too good to pass up. Same as if you stay too hard on your budget, diet, or exercise program, you’ll burst and do something that will have you regretting. Knowing what matters more and making the most of it keeps you making the very best choices in a sustainable purchasing system.
Equal Energy Colour
Wearing Bright Season colours doesn’t mean that you’re a walking flag, just as the idea that Dark Season colouring wears only dark colours is not true. It means that of the 3 dimensions that every colour answers to (warm-cool, light-dark, muted-clear), the one thing about yours that isn’t medium is its purity of pigment.
Your colouring takes a Bright colour and makes it look normal, and you look normal in it. The other choice being, “It is a bit lifeless and you’re lifeless in it.” A Dark person takes a dark colour and makes it look very normal with lots of colour and without getting shadowed by it. The other choice being “Is that black? Why, no, when it’s off your body, I can see that it’s quite purple. You’re changing it to look darker than it is. And it’s making you look like you’re standing in the shade. Weird.”
Energetically equal: You could lay the Bright Spring Colour Book on a Bright Spring item of clothing and have them be perfectly in balance, neither one dominating or disappearing. Therefore, they are in harmony.
The blue top could be True Spring, it’s not super intense blue, but the jump from light to dark in that outfit is more than you’d see on a True Spring. The white pants are too cool for True Spring. The overall darkness effect is still medium light, good on both True and Bright Spring, where True is a bit lighter.
The items in the centre column can be inserted into Bright Spring outfits and the whole thing doesn’t fall apart.
Let’s put them into True Spring now.
I don’t find the items balance so well. The top is too red and too blue. The jewelry is a little too bling. The clutch is hopeless.
Notice in True Spring that there are no bold lines. First, it’s harder to make a bold line when colours are gentle. Second, these colours won’t balance black, the boldest line of them all, in any quantity. The black just takes over. In small areas, Bright Spring can balance black quite easily.
That red leather jacket is interesting. I’m not sure where the real item would work. True Spring does have a red lollipop/fruit punch red. Leather tends to be heavy and thick on Spring, but in certain colours, such as light camel, it can work fine.
Who wears the dress?
Same exercise with dresses.
Animal prints are natural. But we can’t make assumptions about Season. Is the leopard print shiny gold better with the Autumn or Spring selection? Is there one group where it seems too sparkly, separate, jingly, attention-getting, as Spring colour would on an Autumn person?
Just because the print is floral and fun doesn’t mean it’s Spring. Humans colours can fill in many different lines, so can prints. When we see that orange flowered dress among items that seem very True Spring – does it belong?
Does it matter as long as it provides heat? It does. The person will look quite different, and distinctly better in one.
We can’t stare or think our way to this answer. You talk yourself into one and then into the other one. How will we figure it out? By measuring it using comparison, of course!!
Unless you have wavelenth-calibrated eyeballs, and I’ve never met anyone like that, you have to compare it. Lie the swatch book on it and see what happens. Put the dress among your Personal Luxury Drape collection.
Force the extremes. Some of the Autumn dresses below contain black (Dark Autumn), which Spring colour will bounce right off of.
Where do the flowered dress and leopard print go? Not any easier, is it? If the leopard print is Bright Spring, it will be fine with a little black. Ditto the orange dress if it’s Autumn.
Great Q from readers,
1. Obviously Light and Bright Spring share the same parent Season, but I wondered how Summer/ Winter manifest their influence on the palettes and on the people?
The Light Spring palette contains a Summer touch, which alters the True Spring colours by doing what Summer does … it cools, softens, and lightens them.
Under the wave of Winter’s wand, Bright Spring is overall darker and goes to a much darker endpoint (the lightest to darkest range is very wide, getting close but not fully to pure white and black), and is strongly pigmented. Its heat level is the same as Light-Spring, meaning on the warm edge of neutral, where neutral is halfway between warm and cool.
I can see you there reading, thinking, “Yes, yes, I know all that. But how much does Summer cool, soften, and lighten True Spring?”
It’s impossible to describe verbally and is best understood by seeing it. You can see some pretty good approximations by searching ‘Season palettes’ on Pinterest, my new favourite hangout. I bring my iPad to bed. I’m like Harry Potter under the covers with his magic wand long after he should have been asleep. Scanning those pictures to add to the two boards, Shopping for Your Season&Style and RealWoman Sex appeal, is addictive. Social media, ay? Once you find the right one, it owns you. Rachel, whom you’ll meet formally soon, is to personal line and shape analysis what I have been to personal colour analysis. We contribute to each item pinned from both perspectives. Very cool information, very cool way to shop.
The blue book over on the right, RTYNC, contains 28-colour layouts (also pretty good approximations) of the 12 groups to give you a sense of the jump in the colour dimensions from one group to the next. It also contains a lot more verbal description and analogy if you learn better that way.
How does Summer manifest in a Light Spring person? Even harder to nail down. The person does not usually have sharpness, which might mean in features (Julie Andrews’ nose and teeth) or character. See the woman wearing the pink dress in Polyvore 4? Could look about like that, though happier expression.
But where’s the line? What would you call sharp? Is teasing sharp because Lights have that? They can certainly have pointed chins, eyes, and teeth.
2. How do Summer and Winter’s presence come across in Bright Spring people?
Summer tends to create a person who is more aware and concerned of how others think and feel, but not always. Summer has great decency. In Winter, there may be less concern with saying what others want to hear and more emphasis on fairness, and that is decent too.
We could say that Summer contributes a pleasant, well-mannered character. Sounds watered down. Light Spring is by no means dilute. The person may be very talkative or quite spunky (as opposed to determined, more Autumn), which come in with Spring. That said, a Summer can talk, oh boy, as they work through ideas. They have plenty strong intentions, especially when they feel honour (not quite the same as Winter’s pride) lays in the balance.
As they learn the draping process, students are shown how to deliberately seek out the effects of the 4 True Seasons’ colours in the client’s face. Later, as the drape colours become more specific and the presence of certain Seasons may be much smaller, they remember those effects from the coarser level and can come back now and apply them on a finer scale. In the story that follows, how would Winter and Summer manifest in a person on a much finer scale (since, in 12 Season PCA, Light and Bright Spring contain a small amount of Summer and Winter, respectively – how small? Different in everyone. Some Light Springs have a lot of Summer, some much more Spring.)
Summer and Winter visit their friend, Dara*. Dara is trying a new Style in her clothing choices. Her husband, Ted*, has a successful sign-making business and they just built a new house. Winter sees the house and Dara’s clothes. She thinks, “Yeah, it’s a nice house. I might try those kinds of curtains. I’m not so sure of my Style type. I think I have more Yin and need rounder lines and more decoration. I’m being too minimalistic.” Winter goes home. She thinks and thinks and searches and thinks and studies pictures and makes her mother look at a thousand images on her phone (which the mother thinks all look the same but no way is she about to say so). Next time you see her, she’s added a silver chain. Had to take off the earrings and bracelet though, they were too much. Her clothes are about the same. You ask about her visit to Dara, “Her house is very nice. What else can I say? It’s her house, got nothing to do with me. I was impressed with her new clothing styles. She’s right about herself. I’m evolving my own style.” And you sit there thinking, “Is this a trick question?”
Summer calls you the day after the visit. “Dara’s house is so beautiful. She looked great, she always does. I hope she’ll be very happy there. Didn’t you feel so sad for her? (Winter is thinking, “Is this a trick question?”) Deep down, she despises that house. (Summer’s eyes are all big and round and teary, and she puts lots of feeling behind her words, especially despises.) Dara doesn’t enjoy it, she wishes they were back in the old house. All she can feel is Ted’s business taking him away from her all the time to pay for it. I’m just baking her some banana bread for the kids and taking her out to lunch later today.”
How does Winter manifest in Bright Spring? They hold themselves a little apart. Their feeling about the world and their place in it is more controlled. When Summer and you have a conversation, she’s nodding. She can hear how you feel. Winter is moving very little, conserving emotional output. Summer is using her hands. She is out of herself , thinking about she relates to you. She sent you the testimonials you asked for within a week of getting home :). From Winter, you’ll be waiting. She got home, went back right into own her head, and will think of you in terms of how you relate to her.
3. I heard the palettes are similar – do you see Light Spring as a lighter version of Bright at all?
They’re similar but just lightening Bright Spring won’t get you Light. Maybe fading Bright might do so with some complement and lightening it with some white. Light Spring is creamy, which gives it a frosted glass haze or milky glow that Bright Spring absolutely wouldn’t have. The Bright Spring windshield is crystal clear and the pigment concentration is dialed way up.
It’s like the difference between
Both warm-neutral to warm. The Bright (bottom) has icy colours. Light (top) doesn’t approach white. Note that neither image represents the whole palette nor what is possible with it.
4. Could they theoretically borrow any colours (even though this isn’t the best option)?
I’m glad that you asked this good question. I feel that I often answer Q wearing one of two hats and how are people expected to know which is on when?
You know how you fan out any swatch book and no colour is more or less than any other? Your attention is equally divided when the fan is opened up. They have equal visual energy. If you moved one of those Light Spring flowers into the Bright Spring bouquet, even if the colours were all pinks, it would get a little lost. You’d ignore it more. If that were the blouse, worn with a Bright Spring skirt, you’d be looking at the skirt.
If you lifted the butterfly onto the Light bouquet, it would be hard to see anything else. As when a Light wears a Bright’s lipstick. When palettes have a lot in common, as Light and Bright Spring, some colours will work well enough but others will be too prominent. The pinks might be quite comfortable and belonging but the yellows will jump out at you.
Wearing the first hat: In a theory situation, as the question states, such as during the training course, the answer is no. We learn how to place any colour, clothing, cosmetic, or any person, into one Season. The Q is, “Which 1 of the 12?”
#2 hat is worn when advising a woman shopping. She is using the system in another way. The only question she needs to work out is, “Me or Not Me?”
Each application is equally important. First, we learn the rules of the road and the driving laws. As drivers, we take shortcuts with a subconscious sense of where and when. The woman who understands her colour palette can discern which shortcuts are safe and logical and which will be unsuccessful. She’ll have a few fender benders along the way but at least she’s behind the wheel of her own car, taking herself where she decides to go.
Say you’re the woman shopping. Working through the compromises of the retail world might open up 5 more questions,
- How close in colour is good enough? What kind of person am I on this subject?
- How fast do I need to buy this item?
- Am I spending $50 or $500?
- Are the lines of the item so exceptional for me that I’m not passing it up on a little colour issue that will make hardly any difference. You can see examples of this on the Shopping for Your Style and Season board at Pinterest. (the link at the bottom of the R column on this page may take you there, but the website is having a mini nervous breakdown about weekly till it’s upgraded. The link is here too.)
- Do I think the colour might be Light Spring and I know I’m a Bright but I think it looks great in this composition?
- Is this an item that really could fit well into several Seasons, even according to uptight analysts like Christine? When I look at the Shopping for Your Season and Style board at Pinterest, most items are good in two or more groups. She must be wearing #2 hat. (You’re so right. Sometimes, it doesn’t matter. PCA is a life-transforming tool, like a driver’s license or a computer. I want that for you. Being too rigid means missing too many fantastic clothes.) In both hats, jewelry and makeup are definitely mobile in most cases. Many clothes too, if they’re not right up under the face or are in small real estate. Not every element needs to be perfect for the whole thing to harmonize very nicely. In many paintings, prints, and ensembles, the other colours help create the belonging.
Mostly Light Spring
Mostly Bright Spring
5. Some of the warm pinks/apricots look similar – how do I know if I’m looking at Light or Bright Spring when choosing these colours?
You can think colour correctness to death and still get it wrong. I do. We all have to compare it to something. You can compare it to anything, a cosmetic, another item of clothing, a painting, a cushion.
Women who own their own Luxury Drapes (or a closet that is colour accurate) can place the item among the good colours and see if it holds its own, is more, or not enough. They’re full-sized drapes so it’s easy to see colours balance and energize. The article about those drapes is being moved to its own post, it will reappear soon.
Because these 2 colour groups share so much, to choose between them will require forcing the extreme that the other won’t tolerate. Light Spring’s muting will be Bright Spring biggest complaint, while Light Spring will ricochet back the other way when she sees the darkness of Bright. So compare to black. It’s dark and saturated. The booties on the bottom next to the perfume – the peach must be Winter influenced to be energetically equal to white and black. The yellow jacket, the same. There’s enough peach in the peach and yellow in the yellow to balance a lightness extreme (white) and a darkness and saturation one (black). These may be Bright Winter outfits because the white and black are not in Bright Spring colours, but they’re useful to judge the balance.
Some colours matter more than others. The peach coat (lower image) might be a little weak but it’s workable. Gray is good at becoming what’s around it. Jeans adapt pretty well if their darkness level is the same as the overall for that Season and they’re just blue. Red and green are less cooperative. Sometimes, it depends on the viewer. Some people are very sensitive to yellow. I am to orange. These colours are either right or not right, but there’s not much you can do about that.
How about the coral dress that appears in both layouts? Where is it energetically more even in the composition? Compare it to the bouquets as well. Is it perfect in either? Is it workable in one, both, or none?
Light Spring was looking all dreamy and holiday till I inserted that green purse. Is that item helping the nice feelings or is it taking over? Is everything around it washed out and falling back? That’s what a Light Spring woman looks like wearing Bright colours. She fades and drops – or, looks older and tired, like the Light Spring clothes next to the purse that look something that doesn’t feel good…. washed too many times…dirty…dull? The green looks aggressive plus it’s all you can see.
Shopping for Bright Spring (Looking Normal)
Neutral colours (beige, taupe) could be matched a little more closely for Spring where they can be a little blah, but they’re still versatile. Where Summer and Autumn wear these colours flexibly, and Summer and Winter can share some grays, Spring colouring wears colour colours more easily than beige and gray (IMO). Also, when we wear our neutrals, they tend to be in large block items. To excite the composition, neutrals with yellow, not muted orange (=earthy). The beige sweater in 4 (and the pants with the orange top in 3), I have no idea where it harmonizes but it works OK. Next to the very shiny necklace, the sweater isn’t looking dingy, clumsy, or chunky the way an green-beige or camel Autumn colour could on this woman. Both versions of the tights are great. Add colour somewhere!
Again, use black to judge belonging colours. Light Spring loses energy even faster than next to the green purse. Bright Spring gets close enough to black and the colours can balance black without losing ground. The woman in the pink dresss in 4 can hold her own with the earrings but you sense some conflict. Before reading this, you thought, “Why’d she put those earrings with that dress?” Because now you get to feel it. There were a million worse choices, but still, this is not settled. I could have wasted paragraphs.
Black is quite useful in the Bright Spring wardrobe:
- to crisp edges of colour blocks, as the earrings with the mint blouse in 4,
- to outline shapes in a thin black line, as in a print or colourblock, which gives a cartoon appearance that is so right on Gamine body shapes,
- to darken the overall effect selectively without dulling, cooling, or darkening the colour blocks themselves,
- to add Winter’s formality,
- to slim this woman who can balance black, as the mint top and black skirt in 4, the colours are getting along fine, the black is a little strong but it doesn’t appear visually larger
Shopping Search engines are hugely helpful. Polyvore is great. A Light Summer asked recently where to find pants. At sites like Polyvore and Shopstyle, the retail world opens at your feet and it’s uncommon to find items sold out. They are a fantastic way to find your white items online. You want jeans that are a little on the green side? As a Light Spring, the answer is, “Sure do!” Give me 15 minutes. I’ll find you 5 pairs.
6. What do Light Spring colours look like on Bright Spring?
Weak. The way the creamy peach flower from the top photo would look next to the oranges in the bottom photo.
7. What does a Light Spring woman look like in Bright Spring clothes?
Forgettable. What happens to the Light Spring bouquet when the butterfly lands on it. Tired, like she’s having the life sucked out of her. All her sunshine glowing peaches and cream radiance is gone. Between her feet and the top of her head, all you see is clothes.
8. If I find an item that is very saturated and in the medium value range, which Seasons could be likely contenders? I keep getting stuck with colours like hot pink – thinking they look good due to being bright, but on closer inspection often too cool on me and don’t harmonize with the fan…
Very saturated could include the 3 Winter palettes and Bright Spring. True Spring doesn’t have hot pink.
9.a) The person who looks very wintery with dark hair and pale skin. What are the signs that she’s Bright Spring?
There are none other than how her skin reacts to the drapes. The women in the Polyvores could all be Bright Springs. Or some kind of Summer or Winter.
9. b) Should she do anything different with colours or combinations?
She probably sits closer to the cool side of her Bright Spring colouring, near the Bright Winter pigmentation. She many find that the cooler colours in cosmetics work better.
She should still wear the entire Bright Spring palette as clothing and jewelry. Those colours are all in her if the drapes measured her as Bright Spring.
I don’t get caught up on the contrast thing too much, I think it’s built into the palettes. Some women of this colouring may feel quite contrasting and prefer wider distance between lightest and darkest colours in their outfits. This woman may look (and feel) more Winter and use more jewel tones, icy lights, neutral colours, formality in apparel, and boldness in cosmetic application.
Here’s what I think about that coral dress from the top Polyvores. It is not beautiful in the Bright Spring group. The peach coat may not be perfect, nor the yellow shirt on the L side, but they don’t detract. The dress is dull and detracting. In the Light Spring composition, it feels better but it’s a light sink. Light should bounce out of a Light Spring palette like sunbeams, like Creamsicles. It should feel fresh, light, and happy. This dress is not what an apricot tulip would feel like. If you cover it up, the rest of the group gets better, so it’s detracting here too. Still a lovely dress. Might be just the photo, might be an Autumn colour, this is what PCA from photos is like. No idea where this item would fit and would need to try it IRL to be sure.
Not entitling this Dramatic Classic because I don’t want to imply that I have any expertise in body line assessment and the fashion choices therefrom. But I have opinions, oh boy. Since I’m a Dramatic Classic myself, I would like your help in adjusting what I could do better before I spend money.
Recently, we showed some softer wardrobe choices for True Winter, for those who don’t feel that making coats out of Dalmatians quite describes them. In the same post, we saw choices for Dark Autumns who identify better with mink than shearling.
We talked about synonyms. For example, in the Light Seasons, light could mean not dark, and also not heavy, not complicated, not aggressive, and good-humoured. Softness as it applies to True Winter and Dark Autumn would not imply more graying of colour, since that contradicts the colour attributes of those groups to some degree. We looked for synonyms for softness that found the intersection between the word soft and its other possible meanings – perhaps velvety, creamy, rounded, flowing, smooth, supple, decorated, satiny. Soft has many other renditions, in soft tastes, scents, touch, sounds and music, and shape, form, and texture. Today, we’re going to look at all those to find expressions of sharpness.
Dressing for Sex Appeal and Wealth
This is not the same as Dressing for Sex and Money.
What Is and Is Not Sex Appeal
What does sex appeal look like? Or what looks like sex appeal? I don’t have to have sex or even want sex. The point is about telling the world that you’re fully engaged in life. Sexuality is part of life as a grown-up. The thought of broadcasting sexuality never enters my mind and doesn’t have to. Sex appeal comes across just by looking like me and for every woman when she looks like her real self. When I wear who I am, I am saying, “I trust my gifts.” That’s the seduction.
Everyone woman is extremely beautiful. She doesn’t have any choice. The switch flips to ON when the X’s line up. Female energy was drafted that way in tandem with female anatomy. I’m the guy in the room who never laughs at stand-up comedy, talk show humour, Elf, or any other funny person, Robin Williams only sometimes. If you can get past all the fu** during the movie, The Heat, I had tears running down my face. There’s a point to this story, which I’ll get to here, many digressions I can feel coming on. Sandra Bullock has an athletic Natural body shape, to which has been added lots of drama of a swashbuckling type, rather than a Nature walk type.
With neither she nor we being conscious of it, we see what happens to our perception of her (played out hilariously but accurately by the characters and script) in different clothes. When the story needed her to be boring, the wardrobe folks knew just what to do. Put that body in a suit. It never manages to look right. She looks awkward, just how the story needs her to be.
As when wearing someone else’s colours, there is no wrong or bad or ugly. Every woman overflows with beauty, sex appeal, and femininity. But there are better choices for those to come across. Sandra, gorgeous woman and a gorgeous suit, combine to create no excitement whatsoever. Something gut-busting happens to the suit and whaddaya know, she starts looking great. Eventually, she appears in battle gear. Now we get why the movie is called The Heat. We feel relieved, relaxed, and suddenly very interested in her. She’s available to us in every way. In the suit, her presence, drawing power, and magnetism came in around negative 20. The army gear was closest to her brand of sensuality. Wearing it, she looked most feminine.
However your colours and body type were intended to seduce is irrelevant. It goes on autopilot when you stay true to them. Bubble gum and cherries perfume can be fantastic on some women, and be confusing at best on another who could have been so much more elevated, expressed, and attractive simply by changing to a casbah patchouli event. A forest makes no sense smelling like apple pie, right? Projecting authenticity comes across as sex appeal, as “I’m in the game. I know what looks good on me.”, “If you throw me the ball, I’ll know what to do with it.” Which extends to, “I am capable. You can trust me with responsibility, decisions, and money.”
Confusing sex appeal with media-sexy has women of all ages giving it away, forcing it away. That’s not sex appeal, it’s despair, but many women compare themselves to it. Trust me, the pushiness has nothing to do with attraction. It’s capitalizing on assets. Men are built to know the difference.
All I’m saying is you’re lovely as you are. You are enough as you are. I’m a little disappointed if you still wear orange when you’re a Soft Summer. It’s not peaceful. I’m very OK with you wearing it if you know it doesn’t look good but you love wearing it anyhow. That’s peaceful in a different way.
Many women, especially the 18 to 30 group, cannot tune out ridiculous sexualizing of women. I’m not saying to ignore it, that’s hardly realistic. We all know it’s there. We all know that 90% of advertising involving women’s bodies is drastically altered. A mediator might say it can be there, it can matter, and you’re still enough, and what we can do about it to help you find a better peace.
How I find peace:
1. Meditate. My favourite is from Deepak Chopra. Listen to it with earpods if you can, now that is a trip. In meditation, you’ll find optimism. Joined with the forces that create worlds, how can you ever be alone?
We’re programmed for action. It’s intoxicating to to have 20 new Likes and 30 new emails to answer and a new diet and a new resolution and to be doing all the time. Sitting still is not intoxicating by exhilaration, it’s intoxication by nurturing. Like eating spinach. Except, we are programmed for instant gratification. Not the week after you ate the spicach, let alone 20 days or 20 years later.
Our brain is always in fight or flight. It always sees things it thinks it has to protect us from. As Dr. Changizi explains so fantastically well in The Vision Revolution, our brain has evolved brilliant ways of keeping us safe. The larger problem is that in fight or flight, the brain is incapable of learning. It can be a stressor with a toxicity of its own. Neuroscience tells us that the sustained stress actually shrinks the hippocampus (cognitive function, adaptation, learning). Like an over-protective parent, we need to find some freedom to spread our wings. The brain thing is rooted so far in that we’ll not dig clear of it. The only way is by quieting it. With stillness, maturity, and accountabiltiy, we can see clarity.
2. Move. Bloodflow is an important pat of neuroplasticity. Brain, body, spirit, what happens to one happens to all. And it puts a better frame around your life.
3. Laugh at it. Fear-based illusions, such as comparing to media-women, can’t stand up to being laughed at. They can’t find the toe hold they need to anchor in. I meet women and we’re divided in two camps. Those where media got into their head and those where it doesn’t. Doesn’t matter where we live, what we do, our age. Is the difference how much we need/want/care about the company of men? I don’t know but if I can help one woman be free of the you-are-not-good-enough chatter in her head, I want to be there. Read Caitlin Moran’s How To Be A Woman.
4. Make a space for what’s wrong about sexualizing women’s bodies in the pursuit of money. An important friend shared this link (Pinterest, Don’t Compare Yourself) with me. I sent it to my daughters, son, nieces, nephews, sister women instantly. Girls, boys, and young women and men need to talk openly about it. There is nothing wrong with us. Not one single thing. We. Are. Perfect. I. Am. Perfect. You. Are. Perfect. They just convinced us there were things that needed fixing to sell us stuff, and damn but we bought into it like crazy. If everyone woman I see is perfect in herself, how can that not apply to me as well?
Why It’s Good to Look Like Wealth
Not …Look Like Money. Different thing.
What looks like wealth? Similar discussion. It doesn’t have to be expensive. Certain bodies automatically make certain lines look richer. Sandra’s body will make a banker’s suit look cheaper than it is. Looking like wealth is not related our bank account, money per se, or equating success with money. They’re only loosely related in my book. Not about where we shop or comparison to others. Those backfire by setting up too many more-than and less-than relationships that block the multiple and powerful ways in which outside influences can help us.
It’s about wealth as synonymous with maximal happiness, because isn’t that what wealth is? That, in turn, is synonymous with success. Maximum happiness (success) is maximum peace. A particular style on a certain body conveys abundance, which speaks to creation, fulfillment, sharing, and enough. The connection and belonging says, “These two things are extensions of each other. They share something real.” To us the viewers, it feels peaceful to look at.
Wearing the same jacket everyone else is wearing says, “I follow. I obey. I am willing to negotiate myself, instead of celebrating myself, to accommodate a magazine, a friend, a man, a job.” Or maybe it says, “I am imposing this effort on myself to get something.” That sets up struggle, and in turn resistance, and winds up pushing what we want even further away. Not peaceful to be or to look at.
Telling the world (and yourself) that you live an enriched, independent, expanding, self-directed life will happen by choosing a different jacket. In the black T and cargo pants, we felt Sandra tell us about being unconstrained, unbridled, and without inhibitions. That’s the truth of her particular energy. It isn’t the truth of mine. When we find our own, we all express autonomy, individuality, liberty. A free human. Now that’s a beautiful thing.
When body and line, or body and colour, are the same, they connect. There were meant to be together like silver and moonlight, like forest sounds and forest smells. We like it. We want to engage. Tension flows away. We want to stay longer and keep the good feelings coming. Colour Analysis, like Line Analysis, is the Theory of Relativity. When it feels good, time goes by faster. You’ve discovered your brand of wealth. You are closer to your peace.
The Season – Your Natural Colours
In 12 Season personal colour analysis, Soft Autumn is the Neutral Season (meaning a group of natural colouring that is a blend of a warm and a cool source Season) that is mostly Autumn with some influence from Summer’s colour properties.
Autumn overall implies golden heat, muted colour, and darkness. Summer’s colours suggest blued coolness, muted colour again, and a lighter colour selection. Since both are muted, their combined Season is very soft, softer than either Autumn or Summer’s already soft starting place. As opposed to the type of softness we were seeking in the Softer True Winter article linked above (where soft did not mean muting of colour), here, soft really does mean muting or graying of colour. With soft colour (muted) and Summer’s presence (soft as in traditional ideas of femininity) in Soft Autumn, how do we create a wardrobe for a person with sharper lines?
We can’t do sharpness of colour, since muted colour is a prerequisite of Soft Autumn. We can’t do sharp as darkness either. Soft Autumn colours are very soft, quite warm, and medium light to medium dark. It’s the lightest Autumn. You can easily read without turning on a lamp. Because it’s on the sunny side of Autumn, the colours feel bathed in late afternoon light. Not candlelight, that’s Dark Autumn magic.
We need some other expression of sharpness, the same one that the body itself expresses. That’s when our clothes make sense, when their lines and colours are the same as the body they go on.
Dramatic Classic is familiar to us recently as one of the 13 Image Identities in David Kibbes’ 1987 book, Metamorphosis. The terms have been used in other style contexts and seem to have a similar meaning.
There are bodyline experts with the skill to join any of the 12 Season palettes with each of the 10 to 12 body types. Watching them work is quite fascinating. Their results are transforming, startlingly so. My worldview is jolted forward every time I see it happen. I am not one of those body type experts. I’ll defer to their greater knowledge every time.
My Polyvores are not textbook perfect. Someone you hire as a line expert is expected to adhere to the highest potential of knowledge and practice, as I do in a personal colour consultation. Here, I’m doing an adaptation. Fashion that doesn’t work in my life doesn’t work period. It’s here to do me the favour, not the other way around. Sure, the shoes below should be more pointed in the toe, but my feet will hurt the day his do.
Classic always seems to me very medium. Nothing is extreme or irregular, in body size or facial features. The lines and angles are on the sharp side of medium, like Jacqueline Onassis, as opposed to a person whose lines and angles are on the rounder side of medium, like Grace Kelly.
As with the 12 Seasons of natural colouring, there are very few averages in the real world. To know for sure, you should ask someone who understands the entire scope of the subject. I’m a Classic but I’m told my eyes are big in my face, though C types usually have features that are pretty even. I guess my big teeth even out my big eyes, though my lips don’t. I’m shorter than usual for a DC but my body parts are evenly distributed.
My taste is conventional. When I wear unique or creative items, I get “?????” looks. When I think I’m stretching the limits, my kids tell me I look plain – because they can compare me to the full range of how people look. I can only compare me to me, which is one more reason why self-colour-analysis and self-line-analysis tends not to work.
An interesting question: Are women good at picking out clothing for their body lines? I don’t know. If it’s like colour, they run 50% in terms of how many people have a sense of their colouring and how many of their best colours they could choose. I had absolutely no sense of body line, like zero. I’d wear whatever I saw around me. Life and shopping are so much better now. How I’m treated and how I treat myself are so much better. Like colour, you don’t have to be perfect. Being halfway better improves appearance by three quarters. If you would like to learn from someone who really dose understand how to make the very best of body line, follow the wild papillon at Polyvore. You’ll find clothing choices explained and many collections of Seasons and styles, including a few different Soft Autumns.
Interesting that no Polyvore collection comes together any faster than any other, even the Soft Classic Summers. We may feel that all this knowledge will make shopping truly impossible, but that’s not what happens. With a little practice, we get better at seeing ourselves and knowing our stores.
The Meeting Place
Where’s the meeting place of Soft Autumn’s colour language and a sharp classic line?
Autumn does Business Chic incredibly well. The drama part escalates the picture to High Stakes Executive. Makes me think of the projection of Ivanka Trump. She is not medium enough to be a classic, has some fullness in her features, and who knows what Season she is, but her professional clothing style is close to DC at times. Maybe Julianne Moore could be DC. The whole Bulova type brands, you know? Lord&Taylor has all sorts of nice Ivanka wear for classics, sharp and soft.
What might be an issue?
Autumn texture. Texture is too broken up. Ivanka is sleek, tight, clean, and organized, not earthy and natural. I also doubt she’s an Autumn. Julianne has much more texture (freckles, hair) and she may have some Autumn, though I doubt it’s as much as is often suggested. I believe in wearing what you are, so Julianne would add a little texture (snakeskin or metallic, not fluffy or chunky wool).
Animal prints could go either way depending on the item.
A suede belt? Probably too natural for a Classic. A suede skirt? Not sure so I tried it, picking the least adorned one I could find.
Leather jacket (leather pants should be worn by nobody, but then I’m a Classic)? I think so.
Plastic, because it’s really smooth? I don’t see it as natural enough for any Autumn.
Be careful with hair highlights. They can look random, which translates to a little messy and uncontrolled on a very organized and controlled woman and her wardrobe. This is a nice colour, though many Soft Autumns are significantly darker of hair colour. The hair style and the person seem a bit natural, but it’s a good colour without looking obviously processed or busy.
We can associate Summer with flowy fabric. Not all of them. Don’t apply the Season stereotype to anyone, about any aspect of colour, line, or shape. Soft drape won’t stand up on this body, it risks looking limp. Limp doesn’t express sex appeal and wealth.
How else can we interpret flow? From thesaurus.com,
- continuity: as in gradual colour transitions, great on Soft Seasons
- series: so maybe a monochromatic outfit, which can look expensive because it’s not irregular
- connections: as repetitions, very good on sharpened classics.
Summer circles? The person is way way more classic than they are dramatic. If the shape is sleek and a little sharp, could be fine. Clean and organized work for sure.
10 Rules of Dramatic Classic According to Me
I’m a DC Dark Winter. What I think applies to most sharp-side classics is:
1. Smooth, especially around the face. If it’s not, we’ll push each other further in opposite directions as opposite things do.I’ll look flat and 2D while the item looks like a bathmat.
2. No mess, all organizers welcome. Even ruching is an issue but a little low down on the side is ok. Scarves are complicated but a simple one that lies flat and is arranged a little dramatically could be good on a Summer blend. I doubt traditional lace will work, she’ll drain energy like a dripping tap, but there is a version of everything for every body. I just haven’t seen lace for all the body types yet. You can build natural looks wtih lower budgets. This look is harder because there’s nowhere to hide. Goodness knows, I still try every day.
3. Little or no explicit decoration. No ruffles, peplums, bows, lace, fuss. Even prettiness can start looking frumpish on this body when you’re not paying attention. No open toe shoes but sandals ok, slingbacks excellent.
4. Not cute or young. Cap sleeves, borders, a hint of bunny ears, kitten heels, they just look silly, not cute or young.
5. Nothing weird. It’s a medium and symmetrical body. How wide could the tolerance for weird be? Where would weird find a home? No pink briefcases, patchwork raincoats. Your Natural teenage daughter might say your clothes are plain, old, and boring when she sees pictures of them, just like she’ll say the colours are dull if she’s a Winter (she won’t recognize them as plain or dull when they’re on your body, under your face).
6. I never know why I feel so negative for crew necks since they’re so classic. Boat necks are worse on me, I think. The neck has to slice up or slice down, and slice narrow, to keep the voltage high, which is what I really want in this life. A crewneck might be OK if there were a collar necklace and the rest of the top were great or had a superb dramatic print. Cowlneck could work well on this colouring but I’d need to be shown how . Asymmetry or sharp pleats on one shoulder could make a crewneck better.
7. A certain amount of busy-ness in a print is fine but there’s limits. Damn straight I’m a good DC with helmet hair to prove it. Same with a purse, which should have plenty of organizers inside. If they’re on the outside, all those zippers and snaps look busy and messy and feel annoying and complicated.
8. About stripes: diagonal and vertical good, horizontal trickier, ok if thin and regular.
9. For purses: nothing squishy, fairly square, and not real big or real small. Picture the purse version of a banker suit. Now, we’re in low gear, giving it gas, and we’re towing.
10. No visible logos even if it says Armani, which is a super good DC brand and seldom (ever?) has visible logos. Hugo Boss is right up there too (Bloomingdales has some great items).
What I Don’t Know About Sharp Classic Autumn
1. Length of jackets. I think it’s tight as a cropped style at the waist or long just after the break of the hip but not further. This may depend on height. I’m not tall (5’4″).
2. Plaid is usually good on Autumn but I can’t quite imagine what it looks like for Summer + Classic + sharp.
3. Pearls on a Summer blend could be fine. This whole topic interests me a lot, how much the different Seasons actually could express the style stereotypes inside the style types, like their own dialects.
For instance, those equestrian boots in 6 – equestrian anything is automatic wealth of a classic sort. Ski anything is wealth of a dramatic and natural sort.
The link bracelets in 3 and 5. Links are good on Autumn. They can run a little biker on me. I know a DC Bright Winter, they’d be even more biker on her.
Natural elements are good on Autumn – the leaf necklace in 4. I don’t see it on Winters. This is almost astonishing to me. Like seeing it all in a new way. Paraphrasing from The Polar Express, “It doesn’t matter where the train is going. What matters is whether you decide to get on.” I’m on all the way to wherever the Destination is. I hope to see you there.
Is a sharp classic from the Summer colouring groups less sharp than a Winter? Kate Middleton seems to me a sharpish classic. Wearing those styles is when she looks great. I don’t see Diana’s big outward natural energy. Diana always looks big in photos, even thumbnails. Kate looks smaller despite her height, and more contained. I did wonder about a Natural energy but she has so much symmetry.
Symmetry feels formal, I would guess, which is where the Winter stereotype of “formal, ceremonial” must have come from since so many Winters have symmetric features. Most certainly, not all Winters have them. Asymmetry feels informal, which feels livelier (warmer?) and works so well on many Springs. Many Springs have that cheerleader/BFF feeling of Natural body types, but there are plenty of Classic, Romantic, and Gamine Springs. Anyhow, everyone will have a worthy opinion about Kate. Kate is softer than Mrs. Onassis, the image of DC. She wears that hairstyle well. Is it just because she’s young? Michelle Pfeiffer is quite sharp and she’d be a Summer. I really wonder how much Season would influence line within a given body type.
I would also like to know if women have different degrees or tolerances within a group, as they have with colour. Inside our 12 Seasons, we find our best individual expression. Body type must be the same, since we can’t divide all humanity in 10-13 groups within which the advice will apply to each person equally. Every woman expresses her Season her own way, even with the same body type. Like the 12 Seasons, it’s not so much a rigid gospel as a way of bringing some kind of measurable, teachable, reproducible objectivity to our native lines.
Body type analysis is a guide for my Light Summer Soft Natural sister to not default back to her True Autumn Gamine styles, for which we are all grateful. My Dark Autumn Gamine friend finds affirmation and confidence to wear her knit red dress with yellow footprints (I’m not making this up) in her small farm town. Suddenly people see, expect, and love her snapping wit, instead of expecting a TV Mom when she wears more conventional outfits and taking offence at a style of humour that was so big, it took them by surprise.
Back to the clothes, some of these outfits would work for Kate and some may be too masculine. She needs more decoration. Again, is it because she’s young? Softer in the range of DCs? Not Classic at all? Because we’re used to seeing her items that cost 10 times the amounts that I controlled above?
4. How much asymmetry? Not a lot but some is fine. To me, the softer Classic is much more symmetric than this one. I really like the neck and flat pleats of the pinkish dress in 4.
5. How much flare? Bootcut is ok if you can’t find straight leg. The coat up there in 6 is good in the top and in that it flares but doesn’t flounce in the skirt. Worn by a classic body, would it look like two styles fused into one garment? Not sure. Maybe better for a softer classic.
6. If you find black soles on boots – you gotta know when to fold ‘em. Soft Autumn has pretty good darkness and the contrast from boot to sole may increase the overall sharpness.
7. Gray is great on Summers and Autumns, and good at becoming what’s around it. I put in that jacket in the lower L of 6 because the style is good. The gray is too sharp though, better for Dark Autumn or Dark Winter. The color necklace is too soft, too colourful, and too irregular is my guess. It doesn’t belong. I was trying to use colours to take attention away from an imperfect gray. I don’t think this outfit would really work on a Soft Autumn but I wanted to try it. So many good things about Polyvore, the ultimate in comparison shopping and no-limit outfit trial runs.
8. Set 6 is where I experimented. The top R group is probably Soft Summer but I’d try it in a store. A cool Soft Autumn might wear the colours. Is the dress too irregular? IDK but I’d try it for that too; it’s smooth around the face.
How much saturation could Soft Autumn wear? That aqua dress just to the R of the numeral 6, I’d certainly lay the palette on it and see what happens.
The crystal pleat coppery skirt? Again, IDK if it would be wrong on DC, but I like it a lot. A line expert could probably tell you how to wear it.
What watches? There’s a lot of watches? The batteries ran out long ago. Don’t replace them, save money and buy perfume.
A couple of things on my mind lately.
First, body lines and how they matter as much as colour (or almost :)) in a final image.
I send out a newsletter to my clients containing items from the retail world that show the colours of that Season, with talk of how it beautifies that particular group of natural colouring. With every new issue, I worry that women will see it as an endorsement of every item for every person. I feel responsible when I see a tall, stiff body dressed in draping clothes that just look floppy and clingy. I’m thinking that I need a new format. Body line is taken into big consideration when I shop for me. So should it be when I shop for you.
Second thing bugging me a bit. I wrote RTYNC 2 years ago (blue book, right column). There, I began understanding the language of the 12 Seasons (Seasons means types of colouring that humans can be organized into), and how all five senses are invoked in our perception of colour. The problem became that folks tried to fit themselves into those categories instead relying more on a complete and thorough draping process. If you’re a dramatic, intense Light Spring, then you are.
I’d hear, “I was draped as a True Winter but I’m not dramatic, so should I wear Summer colours? Maybe I’m not a Winter?” If you’re a Winter dressing as Summer, you look weak. Many Summers can take a fair bit of saturation, beyond the swatch books probably, but they are not Winters and nor are Winters Summers.
Softer True Winter
I guess my question is, how in the world can one come to terms with feeling, being and acting more like an autumn, but being draped as a True Winter?? I don’t feel like the dramatic that I am supposed to be as a winter. I also have salt & pepper hair, so I feel like I am softer somehow and really wish there was a “soft winter” category. I do feel like with my graying hair, I have a softer look to me and am worried that I will look harsh with stronger make up. What can you suggest for someone like me? Is there anyway to wear softer winter colors without looking completely off? I do wish there were more examples of gray haired winters out there.
Or Google “gray hair women” and see the many fantastic Pinterest collections, like this one.
The minute I or anyone else writes something about the Seasons, it becomes a pigeonhole that gets propagated all over the place. If you find your whole person as you know her, or as anyone else knows her, inside a book, you’re among the rare.
The drama with True Winter is a typecast. I have never seen one where it’s absent, but it’s not obvious. Some are fiercely loyal, will take the car to drive their friend to Emerg if her brother takes sick, stay up all night with the family, and create lots of conflict when you suggest that someone needed that car to get to work. They live in a body like Pink’s and wear off-the-shoulder sweaters and leggings and carry gym bags instead of purses, though they have a penchant for chandelier earrings.
Some are intensely dedicated promoters, requesting that you mail them boxes of your business cards because they’re giving them out like candy. They’re 65 and not interested in theater of any sort, prefer practical clothes and a little gloss and blush only, but they know what they like and don’t mind saying what a person might not want to hear. Winter is very brave. This one has the body of TV Mom. The face looks casual and kind, though the eyes look at things with intensity. She wears pearls and traditional femininity; nice classic suits for the office, small dangle earrings. Black, white, and red together are too bold for her taste.
Some can be very harsh except about their own needs, extreme, and a little revenge oriented. They will do a Beyonce lemon juice fast for a week and eat a whole ice cream cake on Saturday. Their drama is to exaggerate their social behaviour with friends as much as the intensity of their alone time, feeling pulled apart without both. Outward drama is expressed as No Limit eyeliner one day, and no makeup the next. Not interested in jewelry, it’s confining and fussy. Tall, lean, not a single cuddly element, they’re in running shorts or skintight jeans and muscle tanks with a black leather jacket. Wouldn’t wear pink of any sort, might consider purple (which is a type of drama in itself).
Drama gets grouped with flamboyance, exaggeration, and excess, creating fashion synonyms and crossovers that weren’t intended and will only apply to a few people. The word drama can take many forms. For many True Winters, their drama is of distance and silence. The meaning is more about the tension of extremes and absolutes. The drama is the simplicity, rather than turmoil, tragedy, tension, and crisis. Those are more hot-blooded. There may be scenes but they’re quick. When it’s over, it’s over.
Many are not as dramatic looking as the Season has been made out to be. They are not very dark. True Winter is often very medium in appearance, average, regular, everyday faces. Once the drapes go on, their drama is in how absolute the skin’s reactions are to colour. For others, the drama will happen once everyone sees that strong fuchsia-violet lips and cheeks look completely at home and the face is suddenly not plain at all. It’s strong and clean. This is a hard face to describe because it won’t stand out at the mall. Liz Taylor, with the eye colour and delicacy in the face, was more likely a Bright Winter, a colouring that looks more exceptional out and about.
This is where the crossover into Autumn happens, especially in the old days. Dark eyes and hair, and you were a Winter. In both, words like strong, bold, practical, and determined, could apply, so personality quizzes got mixed up. Both can be passive-aggressive. Autumn usually has more compassion and less intensity, but not always. Too much history goes into shaping personality to figure out Season by character.
There is no Soft True Winter in the colour system that I practice. That just basically means True Summer. However, True Winter is not fully saturated. Next to Bright Winter, it looks quite soft, like True Summer in many colours. What this skin cares about more than saturation is coolness.
We need some clarity about the softness you’re looking for. Perhaps the colours are fine and we haven’t quite nailed down the problem yet. Softness can mean many things. In colour, it means dusty. That will set you back. Maybe you need True Winter colour with softer lines, textures, and prints – romance – Angora, cashmere, florals, swirls, and so on. Maybe you need to choose lighter colour and less darkness from the True Winter palette, especially once hair silvers. This is a lovely time to wear the icy lights. True Winter that’s not wearing those is not really being True Winter. They’re being a Dark Something.
Think of the drama more as colour minimalism, which your Autumn-y sensibility will appreciate. You already don’t buy pastels as a was-Autumn. You probably also like style simplicity without much decoration. That said, there are women of every Season who absolutely need high level adornment just to look normal, and so are there women who look better in sleek functionality in every Season.
With silver hair, I would think of wearing more grays than black. Aim for a lighter overall effect. Wear sheer cosmetics and the bold colours away from your face as purses and nail polish. Feel free to drop the saturation a bit but don’t wear pastels, whatever you do.
The floral cardi and pants are allover too dark. Add a light element near the face where it has more impact. Doesn’t have to be equal surface area, we still get it.
Keep distance between colours. Lights next to darks. Avoid too matchy (black shoes with berry dress feels better than all berry).
What feels safe?
Don’t make too many noises about looking great in black and white while out in public. Wear them a lot and add only one other colour. If you look at everyone else, you’ll see that this is plenty dramatic.
Wear lots of gray.
What feels unsafe?
Colour in general? Keep it small and away from the body, like a purse. We still see it as part of you.
Icy colour? Buy a pyjama.
Fuchsia? Buy the next closest colour that feels better.
Metallic and shine? Ditto colour in general (above) or bypass them altogether.
Avant-garde style? Wear traditional. If you like pearls, just be very sure they’re not creamy if they go anywhere near your teeth.
A Gentle Dark Autumn
Writing about this Season thus far has seen words like tribal, equestrian, military, strong, menswear, business. True for some body types.
Here are some more:
Delicious fire, Aztec Chocolate Truffle brown, dark cocoa dusting, melt in your mouth center,
Plush velvet curtain red, you crush it in your hands over and over because it pushes back, sumptuous feeling,
Teal satin, liquid metals dripping off curves, sensual looking,
Whites of liqueurs, Bailey’s Irish Cream,
Cognac and Benedictine yellows and browns, opulent, expensive, reserved for the few,
Dark, hot Espresso, the heart beats faster, involuntary,
Nothing you can do, once it takes hold of your senses, Dark Autumn stimulates,
Until you’re damp, you don’t know Dark Autumn, whose power lies in overwhelming arousal.
Are you panting?
In life, always move towards the heat. Maybe it’s a little scary, but this heat tastes yummy and it feels gooooood. Rich fudge syrup, liquid gold and bronze, the glorious heat of Autumn…
With a bite. Winter’s darkness is less comfy. Chartreuse gets noticed. Chili and diamonds are an uncommon match.
There is nothing dilute about our relationship with these colours. They are not a gentle caress. We love them with intention.
We are most afraid of our light.
You don’t have to be perfect.
A little Soft Autumn (ruffle blouse lower R) will do no harm. It’s still warm-neutral of the right kind of heat (Autumn’s). If people could get their heat level right, that alone makes a gigantic difference in appearance.
Below, not giving up your white pearls? Why should you? You have enough Winter to wear them. Just do the same thing as you do to black -warm it up with the other things you add. If the pearls are creamy, antique, or chocolate, even better.
Wear red (we feel red as warm).I know I’m pushing my luck with the mixed prints in the center. I pick clothes that would impress me all to pieces if they walked in the room.
The gray boot too cool and blue? Sure is. Wear it around the city for a few days, it’ll be fine. If you find a colour nearer to elephant or asphalt gray, excellent. The shoes the model is wearing are fine too.
These Polyvores are not body type specific. It’s not my specialty, and as with colour, even if you’re moderately closer to yourself, you are unbelievably better to look at. Compared to military or tribal, these fabrics drape more, lines are rounder, legs taper (softness and bootcut look odd together to me), and styles are more classic. Still Dark Autumn.
The point is that to create a beautiful, connected, rational, intelligent image with apparel, the lines take their shape from whatever yours are. Just like the colours.
Coming soon, by request, a more dramatic, yet still classic Soft Autumn. Autumn without texture? Summer without softness? Sure.
1. When you can’t be anything else
In his very famous Stanford Commencement address of 2005, Steve Jobs says that your heart and intuition always know what’s best for you. I believe that to be 150% correct. That is, if you can connect with them before judgment arrives. Once judgment settles in, it’s over. No more right or truth can happen. We’re stalled in a character that has reverted to a less mature form.
I watch this video quite often for the reminders.
I began seeing Jennifer for facials two years ago. Before too long, a pattern emerged. Before starting the car, I’d sit in her driveway for 10 minutes writing down all the things she said about how to think (and not think) towards what I want my life to be like.
I’ll experiment with any advice, from Deepak Chopra to Alan Weiss. A woman I adore suggested a Vision Board, among my present projects. Fascinating to me that I wasn’t sure how to make one effectively, so send along your good resources. Experiments tend to work or not pretty fast.
From Visit 1 with Jen, I supervised my mindset according to her guidance and my life direction began to materialize faster. Presently, I’m reading The Power of Framing by Gail Fairhurst, in which she discusses priming the pump of our subconscious so that we can have rehearsed situations for our best reaction as they happen, not a day later. To describe in left-brain language what Jennifer’s guidance does, it would be that.
She listens to me talk for about 60 seconds, evaporates all the irrelevance, and extracts the highest calling. She can link me to my greatest good and the situation to its best outcome near immediately. If her words don’t make sense at the time, I wait 48 hours. Once it took 2 weeks to get the “So that’s what you meant.” light bulb moment.
Sometimes, we begin with a card reading (not Tarot or Zodiac) to give us something to talk around. The results of the four cards I choose are always freakishly related to one another and to new directions that are opening up or something I’m worried about. They might be a confirmation. They might feel uncomfortable and I start with the excuses, but I’ve learned that sooner I stop talking and start listening, sooner things arrive. She can get me out of my own way faster than anything I’ve ever encountered.
As with colour, we sabotage ourselves in so many ways until someone who sees us clearly says, ”This is your colouring. This heat, this darkness range, this softness.” Until the physio says, “Stop hiking your right shoulder and your left hip won’t hurt.” Until an intuitive person says, “Stop right there, that’s a judgment and I hear you apply it every time you bring up that situation”.
Jen taught me how to meditate. The usual ways were boring. I can pay attention to 2.5 breaths max. She said, “Try listening for the most far away noise you can hear.” That was fantastic. You know your eyes and brain relax when you look far away? This is exactly the same. It also creates a big, empty, open space between you and the place you’re listening in.
This is not the usual psychic “you have sorrow in your life” or “money is coming to you” reading. Jen’s readings are clearly “you gotta give something to get something and here’s what you gotta give.” When I leave, I have the jobs for the month. My jobs are the ways that I will hold and transform my thoughts. If I’m willing to do it, change is willing to come.
This isn’t only in person. She’ll do readings just by hearing you talk. She’s at Cloud 313. Below, she describes the difference between psychic and soul readings:
Regular psychic readings are more likely to tell you what is coming to you in the near future, which will be based on the vibrational energy & thoughts you have been sending out into the universe. Soul sessions/readings are geared more towards me tuning in to your soul, retrieving and interpreting information on the level of soul. When we “hear” the truth from our higher intuition it resonates perfectly with us on every level – we can instantly FEEL a change physically, mentally, emotionally and spiritually. We can use this information to begin to practice new ways of being, allowing us to be easily joyful, confident and loving in all our moments as we move forth towards our soul’s true purpose. Our soul does not require us to analyze our past, present or future meaning. We do not need to focus on our darkest secrets or fears.
She looks quite amazing, not a face you see often or a presence you feel often. You probably have no idea what personality she has. Well, she’s completely down-to-earth and very direct. She enjoys colour but feels most grounded wearing black (oddly, that’s when I feel most tethered – which is the same as grounded, come to think of it). Her house contains more shades of red than any other colour. No question, she had the priestess presence of Zyla’s Soft Winter. Winter that she is, she is completely and unquestioningly internally guided. She will wear black exclusively. That’s her way to be Bright Winter. It’s a success story.
Jennifer had to be a Bright Winter. This mixture of faith and trust that normally resides naturally in children, people who have complete faith in magic because they see it all around them, takes a form in adult bodies. Material magic is in the Bright Season neck of the woods.
I expected her to feel all sorts of energy things during her PCA. No. She was a model for a colour analyst training course, probably the fastest student-directed PCA ever done. Jen flicked away all the other colours like pesky spirits trapped in a middle world to confuse humans. We all saw that every other choice was so far behind that we could barely recognize its presence. Even True Winter was, “Yeah, whatever, get that one off, put the other colour back.”
Variations on the Bright Winter Theme
I have said: “Add Spring’s wonderful humour to Winter’s formality in jewelry that sparkles, belts that are crayon-coloured and shiny, or imaginative hair accessories.”
Bright Winter colouring often reminds us of storybook characters, Snow White being the most familiar. That Katy Perry face, the child in a grown-up body, will follow that advice.
Nothing is for everyone.
Every woman expresses her colours in her own way.
She’s not always Sweet Queen. Sometimes she’s another type of queen. She might be the person that is bigger than life, big, strong, and flamboyant, a super heroine. She will wear the big, bold, bright colours in large areas easily. Pucci designs in prints. Platinum rings that look like silver lava. Shiny zippers and buckles make sense on her. They express a truth about her. They are a rational continuation of her energy. I think of Sci\ART Lauren Battistini of Color My Closet in Houston.
When the image is more mysterious, as the fortune-teller, she enjoys Winter’s ability to wear dark drama like no other colouring can. Try the dignified version in huge eyes and crystal clear-as-glass details (transparent buttons, lip gloss) to convey consummate clarity. These words, divine everlasting infinite immortal omniscient omnipotent. Wear a Zodiac medallion (eternity) on a violet (higher realms, highest Chakra) cord.
The character might be even darker, sensuous and mysterious. Morticia Addams has been suggested. Yes, like that. She was extreme, but still stunning, like a slinky and more dangerous Jessica Rabbit, pale as the most seductive apparition. Subtle, snaky wit and fierce loyalty describes most Winters I know. Morticia radiated power – perhaps that’s the part we’re not ready for.
It was she who said,
You have enslaved him. You have placed Fester under some strange sexual spell. I respect that.
Our credo: “Sic gorgiamus allos subjectatos nunc.” We gladly feast on those who would subdue us. Not just pretty words.
Winter is the gorgeous Goth, oxymoronic somehow. Some do it so well that their beauty is shocking, as deadly as Morticia. Friends and family may be uncomfortable because it’s just so believable, such a good extension of you, that you seem to be in costume when you’re not. They’re not sure what to think.
If you want to tone it down, wear the hair differently from Morticia, maybe in a sexy secret agent loose bun or a sporty teenager messy bun. Move the hair up, or add shorter, face-framing layers, or add bangs. Avoid black. Add sparkle here and there. Wear a very subtle complexion warming product like Givenchy Croisiere 1, Spring’s pale peach gold, adjusted to be invisible on your skin and set your makeup too. Wear peach-red gloss and blush, not blue-red.
Some folks don’t really remind of any character. I think of Nikki Bogardus of My Color Rx. And some don’t embody a story character but they certainly have some of those properties – a stunning and beautiful profile and impossibly long fingers that move like feathers, highly theatrical and romantic at once.
Jen is another expression of Bright Winter, quite beyond the naivete of Snow White. Design = Colour + Line. Fully half of a PCA session is concerned with the lines. This colouring can be painted into lines that are very adult, with a far-reaching wisdom, fully grown and ripe with experience, if you see where I’m going. Wear red. Wear velvet. Have a hairstyle that’s luscious. Where does supernatural meet sumptuous, as it does in Jennifer? Rhinestone. Black, but not industrial. Black, but not diesel black or office chair black, those are all Dark Winter. How do we make black yummy? Beading. Shine. Swirl effects. Lace. Big hair. A darkly luscious Marilyn Monroe.
You understand that I get carried away with words, right? And the image gets bigger than life because it’s fun to see where things will go. Don’t picture a red velvet leotard and a push up bra. Just saying, there are way more kinds of great women in the world than Sweet&Sunny.
Step into your own power. You saw that happen in our mirror when we analyzed your colouring. In Sweet&Sunny or Soft&Dreamy colours, you were literally not there. We couldn’t see you. You were not in the room. Be who you came here to be.
You can convey these pictures with one tiny item. It takes barely anything for the viewer to make a connection. Mary Kay Crystalline eyeshadow highlight, pure as the driven snow, and a mouth-watering accessory, a shiny pomegranate juice wallet. Voila. Not a high wire act.
2. When you wish you were anything else
The tough love section. And please believe me when I tell you that I do love you. For every one of you who is feeling exposed, who is trying something new, who can’t find that hiding place when it was right there yesterday, I have nothing but love and respect for what you’re trying to do.
When your colouring was analyzed, your conscious and subconscious minds got a wake up call they didn’t see coming. I get it. I was it.
I could have stayed there. Nothing bad would have happened. There is no pretty or ugly. There is no wrong or right. My face is not the same colour as my arms. You can see my Dad but my features are less focused. I know, you can see that for yourself.
Once we see a new way of thinking, we can choose to absorb it or reject it. Our call. Walk away from it if your heart and intuition say N.O.W.A.Y.
I looked at the Winter makeup and saw a clown. I could see nothing else. And being a Winter, I’m always right. Just ask me. Others might be right but I’m more right. I got compliments the first day, but No, Sir, That Is Not Me.
On the other hand, winters are hard on themselves and they are smart. Winters are good at living at the rules they set for others. They can separate emotion from the problem or the job. So do the job. It’s a sweater. Buy it cheap. If you were the analyst back then and I had been your client, what would you have said to me? Try it for a month. I did. Took me 5 days and then it couldn’t come fast enough. 4 years later, it’s still coming and it will for you too.
You do not have to be perfect. I know, words lost on Winters.
While you’re separating things, separate colours from styles. Every body type, fashion preference, weight issue or non-issue, age, and comfort zone exists in every type of colouring.
I was convinced I was a summer, maybe a soft summer. I had been analyzed as a summer in the past, and advised never to wear gold jewelry. I like foggy, misty colors. Pretty much my entire wardrobe is muted blues, violets, & greens, plus black & gray, which I thought complemented my gray (once ash blonde) hair & blue eyes. I’m not arguing with [the] evaluation — I agreed with her that my complexion evened out and livened up with the BW drapes — but I don’t like bright colors! Especially red. Reds and pinks make me queasy. Just looking at my BW color fan makes my head hurt. What to do? How to embrace an identity of Bright Winter and supposedly present my best self, when the only thing from your BW wisdom that resonates with me is a fondness for tailored, glamorous, nearly formal clothing?
Part of this is my fault. In describing these colours as highly pure and energized so you could distinguish them on a scale of every possible colour including the other Winters, people heard NEON and felt like STROBE.
Textile colour exceeds human saturation. You’re picturing an extreme and you’ve painted it head to toe.
In What It Takes To Look Normal, we talked about how strawberry red doesn’t look bling on you, it just looks like medium red. I’m not sure how many more tips I can come up with.
The best advice really is to try it for a little while.
“Well, you have to start. Do it for a month” is that in my case I’d have to throw out and replace just about everything I own — and everyone seems to agree that BW is hard to shop for!
That’s a Winter’s world. Be perfect or do nothing. Why is perfect necessary? Can we put it on hold for a year?
Everyone who learned their colouring replaced everything they own over about 2 years. It’s important to NOT throw anything out. Those items will be how you evaluate progress and make comparisons.
And “everyone” will only be as accurate as “everyone” ever is, which is to say barely. If you listened to “everyone” about other things in your life, you’d know what you did when you were 16 and heard the “everyone” voice for the first time. Live your own experience. Make one move. Wear one sparkling bracelet with one charm on it that has meaning to you and gives you energy. Your little intention that you will open your heart.
There is definitely a bright winter stereotype of vaudeville costumes. I’ve had a role in perpetuating that, probably a big role. The irony is that this is the only coloring that doesn’t look like a silver bullet in these colors.
We’re saying to choose pure pigmentation, nothing more. Dressing as The Flash isn’t the plan.
The colours looked brighter under the PCA lights. Those are seriously honest lights. They need to be. Same with O.R. lighting. The surgeon has to see the earliest signs of changes in colour of tissues. Some professions have brutal lighting but you wouldn’t want it any other way.
Regular lighting is indirect and bounces off all sorts of objects, which is why close enough is often good enough in foundation. Our brain adjusts a lot, like all the white we think we see that a painter would not paint white. We don’t need accuracy to survive so we didn’t evolve to see it on our own. To survive and reproduce, all evolution really cares about, we need to draw accurate information from our surroundings, which we do by being less absolute. We make correct approximations. Not good enough for a colour analyst.
If you love heathery colours, wear them. My teenagers get along splendidly well wearing what they like. If this is a good plan for you, PCA can save you money even here by suggesting you not buy anything too costly. The clearness of Bright Winter colouring will drain other colours, reducing them into a tired old item that’s been washed a lot. There is no way I know to make those colours interesting on you, if they get noticed at all. Put your cash someplace else.
Biggest part of helping someone is teaching them to help themselves.
Biggest part of helping yourself is answering this: What are you willing to do?
Let’s break it into steps. You decide if you’re willing.
1. Do nothing for a month. Not one thing. Let the whole PCA sit on the highest shelf in the pantry. Leave it there. If your Season grows legs and moves in the night or starts making chirping sounds and bugs you enough, doing something will become the path of least resistance. For now, your best decision is to stay where you are.
Action step: Give this (and your analyst) a chance. Change will be unsettling. The iChing said
“Before the beginning of great brilliance, there must be chaos.”
Deepak said something similar in the 7 Spiritual Laws of Success. I read one daily. Today, try #2 in the Law of Detachment.
2. Choices. You can choose to look for every reason why it won’t work. Dog trainers experience this day in, day out. My dog is different and not one of your 40 ideas will work. At the end of the day, the trainer’s hands are tied. Keep the dog you have. You made it be the way it is so part of you is already OK with that. Dogs and owners train each other, the dogs doing the massive majority of it.
Action step: Start small. Buy a wallet or nail polish. We still see it as part of you. Wear a sparkly something. I favour these at Macy’s. Simple, symmetrical, repeating, balanced, all good Winter words.
3. Don’t wear the makeup. Or any makeup. Half of women don’t and wouldn’t and don’t care.
Many women wouldn’t have a PCA at all simply because makeup is uncomfortable. Many wouldn’t be trained as analysts only because they’re uncertain about applying makeup on themselves, let alone others. Sell who you are. Women will think, “Someone like me. I’ll be comfortable with her.”
Many who would bring so much to this career hold back. They worry that they don’t wear makeup and won’t fit into an image industry. Think there’s no market sector that doesn’t wear makeup and still wants to look great? Lord.
Action step: Do it as a group. If I’m writing an article, I’ve gathered from the many emails that the audience must be wide. Here’s another market sector to open up. The New Bright Winter Support Group. Many reading this have figured out this colouring. They could offer the most valuable kind of help. What did you do? How did you think about it? How long did it take to get comfortable? What’s still hard and how are you managing it? Of the advice out there, what do you just ignore? Do you have a vision you’re moving towards in your choices?
4. Two sessions. If you live near the analyst and you know makeup is a problem, ask ahead if you can split the visit in two parts. PCA first, makeup in 2 months. Every analyst should be offering some kind of progress visit after a few months. If you’re hitting the brakes as we get to the end of the analysis, the makeup will go in one ear and out the other. You’ll be processing a thousand things and wanting to get out of there. If you want to sit in your car and weep, you should be free to go do that.
But don’t turn yourself into a victim, ay? In your life, you’ve gotten lots of advice you didn’t take. This can be the same. Here’s a Bright Winter thing: emotional vulnerability on a giant scale. Spring’s emotion and sweet optimism mixed with Winter where everything happens on a grand scale, and drama soon becomes melodrama. The emotional vulnerability is laid out over and over only to have it shot down. Hopelessness sets in. Rein all that back in. Get out of your life. Look down at yourself from a balcony.
Action step: Winter excels at big perspectives. Go there. “Instead of finding everything about my appearance that I don’t like, I guess I better find the things about me that I do like and notice those for a while. Have I being systematically brainwashing myself over the years? OK, so I can’t unlearn everything as fast as my PCA experience did, but I can take it slow and re-examine a lot of things.”
Energy flows along behind attention. Get conscious about where you’re putting yours because you are literally telling yourself the story of your life. From the balcony, what is the story of your life? “She is going to…”
5. Let’s try out some voices. See if you can recognize yours. There is no wrong or right.
Christine was right when she said that it’s easy to see the changes. I understand her writing better now but I like my clothes and I’m going to keep them. Interesting experience but I probably won’t do much with it.
I might try those colors but the people in my life won’t like me wearing them. When I told Christine that, she looked at me funny and said, “Who gives a shit?” but that’s just Christine and she’s kind of hard. She must have felt really strongly about this topic because it was the only time she swore. She said, “Stop abdicating your power and decide for yourself how you wear your hair and what clothes you choose. Let someone else control the little things, and while you were distracted, poof!, they’re controlling your big things.” Whatever. Might work for her but I care what my husband thinks and I want to look good for him. Good thing her husband is a True Winter, they probably deserve each other, imagine living in that house.
Okie dokie, something is going to have to change. I could see that in Summer colors, I looked like I was being prepped for surgery. In Autumn colors, my skin and eyes reflected light like a farm pickup truck that hasn’t seen rain in a month. I had pea soup skin. The lighter Springs weren’t so bad, but I looked like a horse that has its winter coat. Puffed. No sleek planes and angles. Wider and duller. Am I really going to spend the next 40 years of my life in clothes that tell other people that I’m not really here because I’m nervous about the color of a sweater? My 90 year-old self would kick my butt around the block.
I know that to get anywhere in life, you have to know where you start. PCA gave me that. I got handed my Owner’s Manual, or a chapter of it. I get to decide where and how to drive the car.
Now I need to picture where I’m going. A start place and a going towards place. Two points define a line. I now understand the space from here to there. It know it will get clearer once I start because that’s how life always works.
Action step: Celebrate that you can wear black quite well. Do you know what others would give? I mightn’t advise that you wear a turtleneck of it. Black is a little rough on Bright Winter, even though you’re a Winter. A colour that’s too cold and dark will need adjusting and it’s hard to make sunlit black.
A colour that’s too cold, even if the saturation and darkness levels are Bright Winter, will cause blue shadows and need adjusting, even though you’re a Winter. Some of my drapes might do that if you’re a little warmer than they are, though both you and they reside under the Bright Winter umbrella. That’s a common happening in Bright Winter colouring, male and female. Every human can’t hope to be equally represented in every way when there are only 12 categories.
Let’s be real. Every Winter will have black pants while they’re trying to figure stuff out (if they didn’t before) and so they should. Their colours go well with black.
6. Start with colours you already like. Periwinkle and turquoise are usually easy.
Move towards purer pigmentation. That’s all it is. Go top to bottom.
7. You like soft colours. You already like gray. Wear more. Rely heavily on neutral colours.
Action step: Little adjustments the next time you buy pants or decide which pants to keep.
The Winter lineup on the bottom.
Winter gray is made of black and white. Might look a touch blue or red.
Pink and purple gray are not so good. A red gray like the cords on the right side is better.
Blue gray is ok too if it’s close to white. Rainclouds and pigeon medium-blue-gray won’t be the best choice you can make.
Winter white pants are good.
Trade soft blue for more blue, 3rd from left.
The top center pants are not bad at all. They’re just very dark. I like dark clean gray better than black but it’s very dependent on the person. Some Bright Winters have beige hair and wear black exceptionally well, no problems of any sort even in a turtleneck.
8. Forget about contrast. Revisit it in a few months.
Action step: I’m going to build me an outfit on the internet.
Learn Polyvore. Learning your Season is much like learning software. You Google and YouTube about it. In the end, you figure it out by messing with it, getting some stuff wrong, remembering what worked, setting up new maps in your head till they are easy and automatic.
On the internet, it’s free. As many times as I need.
My pants are going to be gray. Already own those. I’m going to wear a light peach colored sweater. Peach is hardly ballistic. The wool will soften the look and the colours. I might go for mint too. Today, I give myself permission to buy anything I want. The only deal is, I can’t pick anything I would normally buy.
I’m going to wear a white blouse under it. Easy and pretty. I’m not even going to think about shiny fabric for a year.
Maybe it’s Christmas. I’m going to pin one sweet little Jingle Bell to my cardigan as a brooch. Maybe a sparkly angel. No other jewelry. Actually that doesn’t sound very hard.
Christine asked me to do her one favour. I can hear her voice. “Please, don’t buy a brown or black purse. Please. Anything else. Pick crystal gray. Doesn’t have to be fuchsia sequins. Just not functional.”
I hid the big colour inside a purse. That allover purple purse, we’ll just put it up there in the corner, top shelf of the pantry.
Saw some jewelry I had to have.
If I saw this on another woman, I can admit that I wouldn’t brace myself.
At first, I got many Soft Summer clients. I know what the lesson was. Learn from them to be a nicer version of yourself.
Lately, it’s Bright Winter. I still cannot figure out the lesson so we’ll be here for awhile.
Having just returned from a week in my native city (Montreal), I’m reminded of how much more grunge/tough-chic urban dwellers are compared to me. I live in the exact center of a clump of trees which grow in the exact center of 90 acres of corn.
The anonymity of city living may explain in part why all the grey and black. Perhaps also the multisensory assault and the need for some quiet somehow. Imagine if everyone were very colourful, or if they all had different coloured coats. It would be too much to take in. I don’t feel it in the small town where I live, but I sure love visiting cities. Montreal is a brilliant city with lots of character. Where you buy a screwdriver is beyond me. It’s all restaurants and bars.
I’m a Dark Winter in colouring. If human colouring were divided into 12 groups, or Seasons, mine would come from the Winter palette of jewel tones. To that, you’d add a few drops of crude oil to darken, dull, and warm slightly. The dull black of crude oil is what happens when Autumn’s deep rich gold mixes with sapphire and ruby. Picture the difference between the matte Batman black (Dark Winter) and the bluer and shinier vinyl record (True Winter).
For Dark Winter colouring, industrial/combat looks almost fall together. Though this won’t apply to all body types, the functionality, simplicity, toughness, masculinity all ring pretty true. I’m not a fan of all black but here, you have white, darker than usual blush (eleablake Accomplished, MAC Fever, this is no rosy cheek look), lipstick, and a ring the colour of blood. The lipstick is sheerly dark because this a natural/young/minimal look (Merle Norman Stolen Kisses).
Muscle tends to be easy for the 3 Autumn types of colouring, who do a cargo/military version. And Heaven knows if there are great boots for them to choose from.
It seems hardest to put this together for Spring. The heavy use of neutral colours always feels too drab on Spring, on whom I find colour is a better neutral than the traditional gray range. Even in their own grays, the excitement isn’t quite there. I still can’t visualize a Spring version that makes sense. I struggle with the toughness as well for True and Bright. Still, it just takes some adjusting. More colour, less metal and leather.
What about a Summer? Overall, this colouring is great in neutral colours and monochromatics. Some Light Summers are surprisingly edgy and G.I. Jane. They know it too but in trying to express it in Winter colours, the whole thing can come off too butch. Below, some adaptations.
Should be easy, she has the same relative darkness, dullness, and texture to True Summer as Dark Winter to True Winter.
She’ll do less distance between lightest and darkest, looks way better on Summer colouring.
Ombre and fade effects are nowhere better.
Wear the bracelets on the same hand.
Could do a mascara version of soft black for the boot.
Equestrian boot are too glamourous and Uggs make us walk too shuffly and mushy.
Denim is so ubiquitous that we barely register its colour unless it’s pretty saturated.
You can’t see the model in the Tshirt because she’s unlikely to be a Soft Summer so she’s disappearing.
Don’t buy the makeup on the Polyvore, I haven’t swatched any of it.
Anybody but especially the boy-body nerd > messenger bag.
Amazing in her teals.
Those earrings are lakes.
The eyeshadow is matte.
Anybody but especially the field hockey player > backpack or hobo.
True Summer is such a clean-water Season, it’s hard to make it look messy.
Cate Blanchett on the other side of the subway platform. With this wicked good haircut. In this clothing, I’d stare shamelessly.
But without the high-class natural makeup. There’s something too wholesome or healthy about it. I kept peach out of the blush and lip.
Eyeliner is important and you need one that allows you to wear a lot without closing down the eye size. Our makeup should be as much as us, not more. And not less, personal taste depending of course.
I’m completely attracted to biker jackets. Engineer boots too.
Bracelets on the same hand. Warm and cool together are good on Neutral Seasons.
The belt is bubbles.
She has double piercings in her ears.
The Spring in her makes her great in tye-dye. I picked watercolours of galaxy earrings today.
The blue beanie, because marled wools look terrific, because blue disappears on Summers, like a non-colour so it doesn’t really add another colour block.
Purse too saturated? Yup. Coat too something else? Probably. As if a woman wearing this is going to pass up a great purse because it colours outside the lines. Where we do and don’t draw our lines makes us more interesting.
Personal Shopper + Colour Analyst = VALUE
Shopping takes hours of planning and thinking. Which I enjoy more than I can say but seldom have the time. I know you don’t believe this, but many people have way more money than time. I meet them all the time. I get links to Theory suits and Burberry trenches to advise about, shopping bags full of Cle De Peau makeup to sort through, and offers of all-expense paid travel if I’ll go analyze colouring and take on the shopping thereafter.
Believe this too. It’s not because I’m good at it. All I have is the ability to choose colours that flatter because I can measure the person’s colouring, i.e.: I know their Season. That alone sets me apart from all the other stylists. I work from airport waiting lounges, Starbucks, shopping malls, wherever and whenever, with nothing but an iPad.
Sound like your path? Consider training as a colour analyst. Fashion advice without the ability to analyze colouring accurately will be like Hollywood, trendy and unpredictable. If you love shopping and can analyze colouring, you are a different commodity, higher in the value chain, even at the celebrity level.
Something I’ve noticed over the past year. She is always a woman between 55 and 65. She is most often one of the 5 Winter blends, simply because the visual effect I’m about to describe is more visible in that natural colouring, but it happens in all 12 groups or Seasons. In 12 Season personal colour analysis (PCA), the 5 Winters include True, Dark, and Bright Winter, Bright Spring and Dark Autumn.
When we meet, the closest description is that the clothes she wears have faded away. By comparison, the woman isn’t faded at all. Her face is lively, her character sparkly. Her hair is silver or in the process of becoming. There’s lots of life in her eyes and her conversation. Why can’t I see her clothes or makeup?
Beyond cute, but are those eyes real? Would Nature on her own have paired these windows with this house? Do coloured contacts look easy and calm or do they (do you) feel manipulated?
This character ‘s windows balance the house.
It’s the clothes. They make no impression, as if there are no clothes. I’m used to meeting women who dress very neutrally on the day they have their colouring analyzed. I’m used to outfits where one or two items might be great, but the rest are too much or not enough in some way, though I don’t know how before we see what happens with the drapes. Without PCA, nobody can get every item to be in perfect harmony with every other.
When we visit at the beginning of the session, it takes too much effort to notice the clothing, which you can’t do and stay current in the conversation. It’s too distracting to keep going back and forth. Speaking with her while looking at her feels like listening to English and answering in German.
You have to tune out thinking about the clothing out to stay sane. Whatever those clothes cost, they might as well not be there. The head feels connected to a sheer, pale beige shirt and acid-washed light blue pants. The image is so unbalanced that one suspects it can only be intentional. Like the day Lady Gaga was interviewed on 60 Minutes in a skin coloured bathing suit/bustier sort of affair. It was a head with no body, on purpose. An interesting visual and psychological manipulation, of which Gaga is quite masterful.
Our woman often says, “I don’t get service in stores.” She doesn’t mean good or bad. She means not any. The store staff isn’t rude. They literally can’t see her. She looks a little see-through. If we touched her, our finger might not hit solid bone. It might just keep going. She looks like her apparition version, ephemeral.
Absolutely beautiful but does it feel real? With two misty green eyes at the top, it’s like beauty from another dimension. Change the eyes to powerful aqua, amber gold, or yellow green. Will you notice the rest of the scene? Will it feel solid?
Who is the woman we look at and who is the one we look through? If she’s a Dark Autumn or a Bright Spring wearing Light Summer colours, we will look through her. She’s coming down the hall but not in the room yet. I can see her there on the other shore but some part of her soul is delayed, not yet embodied. I’m in the field with the flowers and she’s way over on the other side.
How much can you make out over there when you can barely see the flowers on your shore?
She seems suspended, as if we have to wait for her. If we interact with her, she won’t hear, she’s too far away. If we do speak with her, we’ll hear an echo. Distant objects are muted, cool, and less defined. Close objects are more intensely coloured and well-defined.
We evolved to associate cool and muted colour with distance.
Visually, she’s literally ‘not all there’. That expression has a lot of meanings. Subconsciously, we apply them all. If we look not-solid, then we look airy. Airheaded? Vacuous. Vacant. Shallow. Drained. Emptied. This is not going in a good direction.
If there’s another woman in the room who feels fully present, we’ll be more aware of her and we’ll speak to her. She’ll get faster better service in stores. She’ll get promotions, responsibility. We think she’s smarter. People will expect more of her and put more of themselves into their communication with her. They’re not rude. It’s just that they see her better.
The Space Between Us
I saw Eva*, a Soft Autumn woman recently. In the wholeness of her eyes (the trees), her skin (the lighter statues), the small amount of water (Summer) and the solid stone (Autumn), the fluid and blur effects (Soft Seasons), she looked like this fountain. You know that the fountain has to be hard for the whole image to work. You clearly see its 3 dimensions. 3D is tremendously important in translating Autumn.
Could this scene be conveyed in the beach colours (Light Spring-ish) up above in Brunarte’s photo? No. The magic only takes effect when the truth has been found, when the lines and the colours belong. Would shade and fog colours (Soft Summer) work? Or does this feeling require its warmth?
Previous analysts had found Soft Summer and Light Spring. One analyst saw the softness, one saw the lightness and warmth. The missing piece was a solid bone structure. In Light Spring, she was evenly lit and illuminated, but without solid-looking bones. I adored this woman.
Eva didn’t fuss or drag up any negativity. Instead, she chose to pick up the trail of breadcrumbs. In seeing the puzzle pieces separately, and then adding back the final one, she understood so much more about her colouring that if the answer had been right the first time.
She could see the relative importance of the parts. TMIT has been talked about before. I used an over-simplification to illustrate something, and it may have ricochet’d around as shortcuts sometimes do. Every element matters.
A colour analyst is always balancing and comparing.
We want the geometry of the face to be solid, but we stop before it gets severe.
The substance of the bottom half has to match the substance of the top half.
The illumination of the bottom half has to match the illumination of the top half.
The wrong colour: The features are un-united. If the red is too red, white is too white, blotches appears, the face looks scattered apart.
The balance: The features all belong to the same face. For some people, their truth is to have strong reds and blues. That is their right colour.
How do we know what’s real? Our sense of vision has no idea. Until it gets a comparison. We talked about this a lot in the last article, Different PCA Systems, Different Results.
Eyes are the focal point of the whole person. Eyes are everything. We’re magnetized to them. Nothing, nothing should get in the way.
Our eyes truly are the window, the two-way mirror, the story, and the soul of who we are.The surrounding face should be stable and secure, not floating and vanishing. The eye is framed by the browbone above and the cheekbone below. Both facial structures should be in focus, solid and well-defined on the face. A brow that blends into the skin and a cheekbone that is collapsed weaken the presence and our awareness of the presence. The jaw and chin must balance. Too much weight on one end and the scaffold of the face tips over.
As we have said, our woman’s head isn’t faded at all, even without makeup. The intensity of the eye colour is very high in the face. Something may be highly dramatic. The hair might be big, easily belonging to bone structure that’s stunning, all sharp angles, like she walked off the set of Dynasty. Or, her features might be lush, all swoopy and dreamy, with an gorgeous man-magnet shape. To meet, she’s fun and funny, interesting and interested. She is way more than her clothing choice. Her head is fully there but her body isn’t.
I thank my dear friend Adele* for explaining to me that in her own life, her disappearance has been necessary, voluntary, and temporary, intended to create a space. She is holding and honouring a place that represents a letting go of all that needs releasing, and trusting that what comes next will be right. By making a place inside that’s a little blank, she announces herself open and hospitable to anything. We see her as incomplete on the outside because she is incomplete. For the moment, this is the truth of her.
At this stage of life, many of us women in our 50s sense a disconnect where the exterior is no longer communicating the rich interior. We can’t figure out how to get the two on the same track again in this new phase of life. Adele is hiding while she tries to figure something out. I love that she knew when the time was right to remove the cloak. Sometimes, the shelter is too safe and we stay there. Not Adele. She did the releasing, the waiting, the becoming. When she was ready to know her most basic truth, she had her colouring analyzed. Bright Spring.
The change back is a little tricky. Adele is now used to visual neutrality. In her head, she knows that Bright Spring colours are where she looks most present. She knows they don’t look overly bright on her. They look normal. Next to her, it’s all the other colours that look faded. True Spring’s juicy coral looks tired and old under her face.
Adele should run a women’s support group. She is so clear on this topic. She feels no weakness or compromise. The inside needed to be neutral gray for a while. The time for that has passed. Now, she is holding back from shopping and seeing how many old choices were just old habits. Makeup and hair colour changes are waiting to get clarity about who’s underneath it all. She’s been amazed to see that her silver hair is quite yellow.
Adele and women like her have been among the most fascinating self-healing journeys I’ve seen. They’re so smart that I just have to sit down for a minute. I see a conscious decision to retreat from our bold, bossy world, to float to wherever she is taken with trust, to feel her way through things instead of always thinking, and seeing what her real self could attract from the inside. This is why I love what I do beyond telling, that it brings this enrichment into my life while I still have so much time to become more from it.
From the remarkable quotes on this page, words by Jiddu Krishnamurti, far more profound than a mere statement about the human capacity for recursive thought,
The highest form of human intelligence is to observe yourself without judgment.
Silver Hair and Warm Colouring
I’d be a bigger fan of colouring hair if there were better colour advice out there. If the best hair colour were easy enough to achieve (Dark Seasons, Light Seasons). If silver didn’t look so very good on certain colouring (Brights) or so natural and easy on others (Cools and Softs).
Plus, some of the most chic hairstyles I know are on the Pinterest pages of the silver hair sites. Send an email if Google doesn’t find them for you. There are about 4 or 5. Best hairstyles ever, regardless of hair colour.
Reader Q: I was once analyzed as a True Autumn and lived that way for many years. Now the colours feel too intense for True Autumn. Is Soft Autumn now better?
I don’t follow people over years and life changes, or know PCAs that have, so I’m not certain of what really happens. I do believe we soften a little and cool a little as hair shifts to white, and skin probably shifts accordingly. We must project colour differently as we contain less water. Mostly, the answer is the same one you’ve heard many times: It depends on the person.
I also believe we stay in our Season most of the time. The very odd person who was right between 2 Neutral Seasons but closer to the warm might shift over to be closer to the cooler one, but that’s rare. I see women over 60 still quite equally spread among the 12 groups. Often, I think the change isn’t so much in the best colours as the best neutrals. The darker browns and grays are replaced with the medium to lighter ones to repeat the hair.
This beautiful face would dominate Soft Autumn colour today and probably always.
A True Autumn might shift a little closer to Soft Autumn without going that soft in the colours. She might not. I know some silver haired True Autumns. It’s visually amazing. Powerful, rich, hot, strong. On that woman, Soft colours would look faded. It’s only next to Soft Autumn that those colours attain their highest energy. She still needs the hot orange, the golden greens, whisky and burnt sugar, for her clothing to look energized and for her to look energized in it.
That look of blending into our clothes is too-often misunderstood as harmony. Disapperance is the opposite of what harmony looks like. Harmony looks like the highest energy the two can bring out in each other, so perfect is the synchronicity. It feels like singing at the top of your lungs. It feels like the fullest, most extravagant concert, every instrument at once and still perfect pitch, harmony, and melody. No part of the story is stronger or weaker. The balance is heavenly. Synergy means a combined effect which is greater than the sum of the two separate effects. Your clothing, cosmetics, and hair colour bring out more of you, and you of them, than either would if seen separated.
Defining Your Business
It has been a gift to meet so many women who participate in the various silver-haired forums and online groups. So much power and support, I can tell you that it’s been an eye-opener. Many would like to be involved in the training course to become PCAs (more info here). Some hold back because they feel that they don’t know – or want to know – enough about makeup.
In this business, you are whatever you present yourself to be. Just be clear about it up front. Your clients will find you if you tell them who you are. Tell them what you believe. Giving people logic doesn’t make them call you. Giving them sympathetic emotion, “She really knows how I feel because that’s how she feels.”, sure does. The market for people looking for the metaphor or vehicle that reconnects them with themselves in an honest, loving, meaningful way is bigger than you can imagine. We are all in this boat to some extent.
I welcome the students whose purpose they can clearly state as helping others, celebrating the person that we are, finding peace in the package we were put into. Our outsides are as they are for a reason. Honouring that takes us 55 years. The freedom is like walking onto a sunny beach after being in a dark, smoke-filled room for a week. We can help everyone find it.
Own 12 lipsticks or glosses and blush, some pressed powder foundations. Between Avon’s endless range and continuous sales, Revlon’s no-animal-testing, and beautypedia.com’s advice on where to put your $, you can be set up without a big expense.
Develop what you love. Find ways to support the massive market segment that Adele represents. The knowledge of how to do it is already in you. Figure out how to give her what you need.
My friend, Rick Beckman, takes care of this website. I’d be so lost without him. He comes in now and again, he looks things over, he cleans up what needs cleaning. He is a blessing in my life. Together, we’ve begun a big upgrade to improve the navigation, make it easier to find articles and topics, and create more separation between the blog, the training course, the drapes, and any new things that might come along. Rick has already begun installing things behind the scenes. If you log in one day and notice some oddness, know that it’s temporary. The next day, it might be replaced with new oddness. Like free and fun side-show.
The colours have been selected and production has begun on the Round 3 of the 12 Blueprints Test Drape collection. Nine sets are made in each Round after which colours and textiles are reevaluated.
First, please allow me answer a question that I have been asked.
Why don’t I teach with the drapes I make?
After analyst training courses were offered once again in February, 2013, with 2 to 5 new colour analysts per month since, the drapes have sold faster than I could make them. Now that I’m caught up, I will be adding to my Sci\ART drape sets to merge them with the 12 Blueprints drapes. The Key, 4 Test, and Red Drapes will remain the same. The only change will be adding to the 12 Test sets to bring them up to 6 drapes of same colours, rather than the present 3 of varying colours.
Secondly, the Sci/ART drapes are among a very small number assembled by a Munsell Master Colorist. Students should have the opportunity to use them, giving them a sense of the history of our profession, and a comparison with the drapes they will use in their own businesses.
I was trained with Terry’s Sci\ART drapes, quite different from the sets I purchased two months later. No transition time was necessary. Therefore, I didn’t feel that teaching with the exact sets the new analysts would be using was a priority. The order of use and decision-making processes are identical.
There are drapes collections in Canada and the US. European students take their drapes home with them. Though we do use them for the course as the student wishes, unpacking them and repacking them for airplane journeys is a process in itself. Like maps, they never pack up as clean and flat as the first time.
I have taught with the Round 1 drapes and used the Round 2 sets. Both performed perfectly well.
What’s New in Test Drapes Round 3
Already, the 12 Blueprints Test Drapes have no precedent. Improvements will continue to come on board with each Round of production. Terry and I are carefully studying the borders of the Seasons in terms of their boundaries in colour space. I doubt that either of us anticipated how truly fascinating and eye-opening the journey would be.
The Red Test Drapes have seen the biggest change. Previous sets were modeled after the Sci\ART drapes, with a cool, warm, and a neutral drape, either as warm neutral or cool neutral. In Round 3, both warm-neutral and cool-neutral are now present in each of the 4 Red Test sets, along with the pure warm and pure cool colours. Also, all 8 Neutral Seasons are represented in the 8 neutral drapes so every Neutral Season client should resonate highly with at least 1 of the 8. They are working beautifully.
Colour comparisons are more exciting than ever. Tolerances for specific colour dimensions may be tighter. More than anything else, I’m especially proud of the plasticity of these drapes. Based on our solid belief that colour analysis is entirely dependent on relationships and comparisons, we aimed to express the 3-dimensional truth of every colour. However the analyst moves in colour space or in the algorithm of the analysis process, this colour series will provide a powerful platform for her/his decisions.
Stunning and beautiful fabrics are used in the Red Drape and 12 Test series. This has been true in previous sets, though more so now, as we gain experience, skill, and confirmation from watching the drapes perform.
Broadcloth continues as the basis for the 4 Test sets to give all analysts standardized colours and to take advantage of the variety and consistent availability in those colours.
With additions to the Red Test series, the collection now comprises 112 drapes, not 108.
To reflect the increased number and fabric expense, Round 3 Test Drapes will sell, as of November 1, 2013, at CDN $3543.68.
For Analysts with Round 1 and 2 Sets
If you’ve already bought drapes and would like to expand your Reds to contain both a warm and cool neutral, email me and we’ll figure out what you have and what you need. We’ll work together to provide you with exactly what you want, ASAP.
You’re not missing out if you don’t. My Sci\ART sets served as the models for to the Rounds 1 and 2 sets, and have served me well for 4 years. Adding more bells and buttons to a car doesn’t mean it drives itself. Sometimes more is just more. Whether there are 3 or 4 drapes per value level in the Red Drapes does not in any way relieve the analyst of a single aspect of the criteria in the decision-making process.
If Terry and I trained you, you know how to drive. You know what to look for in the Red Drapes. You know which colour dimension they measure, and how to get indirect information about the other dimensions. The new drape additions are optional. You have had experience with a client whose parameters are reacting well and poorly in both the neutral and pure cool, with no 100%. You appreciate that it may just be that the drape is warm-neutral and the person is cool-neutral. Leave them both in, confirm later with the 12 Tests.
No decision is ever conclusive till it’s confirmed in a variety of contests, at least two, hopefully more, even if the evidence is indirect. Colouring/Season is not fully described by the Red Drapes, as you know. Depending on where the colouring leans in their Season, on the particular Season to which each red drape belongs, and sometimes just analyst familiarity with that face, results may differ. You still need to apply full-strength interpretive skills to the Reds. And you still should spend ages on the Key and 4 Test sets.
These are very fine drapes. Very fine.
6 sets of Luxury drapes each were manufactured, with 15 drapes in each of 12 Seasons.
The earlier article is here, which discusses their multitasking ability. The client perceives their first leap from theory and swatch into real fabric. Although your Test Drapes contain more colours than the Sci\ART sets, the Luxury Drapes still have enormous value as Season confirmation for analyst and client. Great Test Drapes are good. Experience is good. A backup is still welcome.
3 sets remain.
No further sets are expected until February or later.
There are 180 drapes, all stamped and tagged.
For Personal Colour Analysts, the cost is CDN $4860.00 + $631.80 (tax) + $29.00 (shipping inside US by FedEx; shipping outside the US depending on destination)
Though the Test Drapes are reserved for analysts trained by Terry or me, the Luxury Drapes are available to the entire Sci\ART and 12 Blueprints communities.
Personal Luxury Drapes
This information has moved to a post of its own at http://12blueprints.com/personal-luxury-drapes/
A couple of announcements:
For Training Course Graduates
As a 12 Blueprints community, our understanding of human colour analysis grows in size and adds more layers each time we meet for a training course. I ask the Universe to please send me the people that I need for my own growth. It’s doing exactly that. I can’t express how fulfilling it is to end a 3-day course and realize that the students have once again taught me as much as I was able to show them.
To continue sharing the knowledge we build among our members, the posts entitled For Training Course Graduates will become more frequent. They will continue to be privileged (the password is in the Training Guide) but the title will appear on the main site as it does for all articles. Please do email me if you have difficulty accessing them.
The information base on this website is getting big. By requests, posts are now archived by month in the right column under Recent Comments.