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
Numerous requests have arrived to offer the Luxury Drapes as single Season sets for clients who have enjoyed a Sci\ART-based Personal Colour Analysis.
I am glad to do so. There’s great value in having a colour analyst (two of us, in fact!) translate your swatches to their manifestation in fabric. Once you see how 15 of your colours are interpreted in various textiles, it’s far easier to imagine the other 40 to 50 colours in your colour palette.
The drapes will be the full 18″ X 34″ size that are in the analyst sets, grommetted, stamped, and tagged, just as an analyst receives.
Offering full sized drapes allows you to reach the drape fully round your shoulders to get the most colour effect. You are also ensured sufficient fabric to make outfits. You will enjoy watching the harmonies play. Take them shopping. The item you’re considering buying should be a great fit among these fabrics.
Analysts already have white, yellow, green, blue, and red in the Test Drapes. The Luxury Drapes contain colours that we don’t test with (purple, for instance), as well as beautiful versions of colours we do test with (more greens, reds, and so on). Test colours are somewhat proprietary and won’t be included. However, I do feel that you should have your white in your Personal Luxury Drapes. One colour will be substituted for white in these sets (unless you indicate otherwise).
I am excited to make this aspect of a working PCA’s tool kit available for you. The more ways you see your colours, the better you understand, recognize, and use them. There’s nothing I want more. Me being me, I’m already looking down the road, thinking about a selection of beautiful printed fabrics (which Terry and I have been wanting to do), wedding whites, or adding any other idea that seems brilliant.
To support the colour analysts, it is only right that they purchase the drapes at a lower cost than their clients.
Retail price for a set of 15 full sized drapes is CDN $465, therefore 15% more than for analysts. With 13% Canadian tax, the total is CDN $525.45. Please add $20 FedEx inside the US. Shipping cost to other destinations can be provided at time of purchase inquiry.
Only one Season’s set will be sold to an individual.
Other colour analysis systems use different colour collections in their Seasons. I don’t want our palettes to create conflict in their clients’ process or practice.
If you would like to purchase your own set of Personal Luxury Drapes, please email me at email@example.com. They will be available only to clients of Sci\ART based analysts. If you wish to buy a set, please do mention with whom you had your analysis and when it took place when you email me.
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.
Alan Weiss is the authority on solo consulting. A colour analyst is in many ways a solo consultant. I own several of his books.
I enjoy the balance of his very linear approach with my very eclectic one. Â I admire that he listens to his own drummer, as far from locked down by how the majority thinks as it’s possible to be. Â His idea of success is not the corner office and all its trappings. Neither is mine.
Because I would like to upgrade this site this winter, I went to the source. I’m reading his new book, co-written with online strategist, Chad Barr. The book isÂ Million Dollar Web Presence: Leverage the Web to Build Your Brand and Transform Your Business. I appreciate how rich the content is. The advice is to be provocative and re-inventive.
In the earlier Million Dollar Consulting, pg. 327, Alan is discussing what a speaker should wear when filming a video from the speaker’s perspective. He asks the question, what’s not to like about black?
The short answer is that there is no colour, cosmetic, diet, vaccine – nothing that works equally well on everybody.
(Edit October 9, 2013: Alan and Chad get the influence that colour has on the impression we create. On Pg. 112 of Million Dollar Web Presence, they recognize the importance of colour analysis to look like a true professional.)
Since I’m incapable of short answers, I’ll be provocative and take on the question about black, one that almost every client asks a Personal Colour Analyst. Our clients know their best version of black.
12 Reasons for 12 Different Blacks
1.Â With respect to anyone who feels otherwise, I disagree that “black is always stylish and it’s slimming, plus all accessories go with it”. It isn’t, it isn’t, and they don’t. Not for men or women.
2. The fact is that black flatters very few people’s natural colouring. Black can’t be at home with most types of natural colouring because it isn’t there in the first place. The native pigmentation doesn’t darken that far. Black just sits on top, out of sync. For those of us looking at it, it’s the visual equivalent of riding 50 miles in a car with an out-of-tune radio.
3. The slimming myth is a myth. A fashion propagandism. Black is not slimming unless that darkness exists in the natural colouring to provide balance and context for it. Without those, the black block gets bigger. On the bottom half, the black block looks heavy. Bulky. Fat. Fuzzy. Sweatpants.
On the top half, the shoulders appear wide and the head small. That looks weak, especially in a man, since women can often balance the picture with bigger hair. In video, where scale and proportion can be distorted without the rest of the body and background to re-align things, it’s especially noticeable.
Even in a little photo, a Facebook profile or a head shot, we feel it. In black, Man #1 in black looks
- and intelligent.
Man #2 in black looks
- shiny, which comes across as sweaty and anxious,
- has a redder nose than the rest of his face = unhealthy, and such an easy thing to alleviate in right colour,
- and really needs a shave.
If Man #2 now did a video wearing a so-white-it’s-blue shirt or jacket, his complexion is corrupted, as if wearing too-light foundation. We’re distracted, almost suspicious, like there must be a reason for the distortion. Result: We can’t listen to 3 consecutive sentences. All because of the shirt he wore, here comes this background feeling of “He’s never on. He’s always off.” Only one natural colouring can make that white look normal. Even on Dark and Bright Winter, the clearest, cleanest, freshest, most accessible skin (which are extended beyond skin to the entire person in the perception of others, of course) require a better choice.
Would a man react to the images of Men #1 and #2 Â in the same way as a woman? Not sure. Given two options, most men would likely pick the better one.Â Many men are well tuned in to what they see.
Sarah asked if men pick up global cues or individual feature changes better during their colour analysis. Depends on the guy. They have fewer voices in their head regarding appearance to wrestle down than women do. Once they get it, they’re often really good at it from both wide and narrow angles. Photographers are terrific because they know already how much perception can be altered by visual information and that it’s an illusion, nothing to get nervous about.
4. On the wrong colouring, the woman looks more childlike than ever in black. There was an editor of Allure magazine who probably lived in NYC, wore the black uniform, probably paid a fortune for it, and looked immature and little girly. Angela Merkel could fit into this group as well. It’s hard enough for women to get taken seriously.
5. Black is so dense, dark, and cold that many people completely disappear. Say, Kelly Ripa, a woman whom the show’s producers already make hard to see on a small screen for some reason. Her image always looks vanishing, but much more so in black or against a very dark background.
6. It changes the skin colour of many people to gray or green or red or blue, sometimes more than one at a time. Health is a definite power player. Telling the world anything else is detracting.
7. Black ages most people. I do not believe for one second that youth is a power player. Authority can increase with age in both men and women. There are many powerful ways to age but appearing fatigued or gaunt is not one of them. No faster way to look old and weak than sink your eyes back in their sockets, compliments of black.
8. Only one type of natural colouring is 100% enhanced and complete in black. Alongside a distant colouring, black causes the expression to be severe, the opposite of team player, counselor, guide, or teacher. The face above the black says, “I am abrupt, humourless, and unfeeling.” Clothing communicates. It tells our story and it tells it inside 20 seconds. It’s worth getting our clear message out in every way we can. Truthful self-expression is so important. Ask any blogger or forum contributor. It’s what keeps our tribe together, how we discover our shared purpose. It’s how our best-fit clients find us.
9. All-black is boring, overdone, and monotone. It expresses neither imagination nor creativity, both of which feel nimble. How does this guy look like he’s feeling today?
Isn’t it better to tell others that you feel like this? Dark grey pants, pearl grey shell or shirt, dusky gold blazer or stripe in a tie, and almost white accents. Extra ordinary. Energy. Lift. Sparkle.
10.Â Black might make textile look more expensive but usually the opposite happens. An expensive choice looks cheaper. On women, there’s a Baboushka effect. Sheryl Sandberg looked much better in the gray and black she chose for her brilliant Â talk at TED than she would have in all black.
Colour is inherently young and expressive. Black plum, dark espresso, the soft gray on the underside of a cloud that’s sunlit on the top, golden barley, crisp teal, stormy Atlantic blue, do not reduce professionalism. They’re a visual attraction in the best way. We in the audience LOVE to see that. We feel a little more cared for or like we’re already friends. You went the extra mile for us.
11. Black is a space hole, a blank. On too many people, it creates no impression. People’s attention flits over and past us. We become faceless and nameless. It’s hard enough to get noticed. How often have we seen this coming at us across an urban intersection? How often have we connected with each face, or any face? No accident these faces are blacked out.
12. Light women, say, Sen. Hillary Clinton, can appear to have beard or mustache effects. Light coloured men can look as if they haven’t shaved in days. Or took a punch under the chin.
Our Eyes Are Our Focal Point
I agree with Alan is that clothing shouldn’t be distracting to be audience. Busy prints, whites that glow, colours that brighten under the lighting, are not the best choices. TV news and sports anchors are an amazement of clothing, hair, and cosmetic distraction.Â The women’s appearances are going in a thousand directions. The men’s shirt/tie/jackets can be eye boggling.
Our eyes should settle on the eyes of the person with whom we’re communicating within a few seconds. Our eyes are the focal point of our entire being. When the viewer’s eyes keep traveling around with no place to rest, it’s like a painting full of details with no centre of attention. Our eyes get tired and move on, looking for the relief of a resting place that feels better.
A face without a focal point is like watching a buzzing fly, waiting for it to land. Annoying just thinking about it and annoying to look at.
Solid black shifts the distractions up to the person’s face. Break down the order of what you recorded in the next ten people you see. In order of appearance, on a person who could have spent their money on a much better version of black, customized to their own colouring, we will see
shadow under chin,
red eyelids again, how come they’re red?? must suffer from allergies,
hey, nose is red too,
eyes, why can’t I just stay here? weird
red nose again…on a woman, it’s wrong hair colour but why a guy? you think he drinks?
around and around, where it ends, nobody knows,
OK, I feel tired,
now they’re making me think, which I never signed up for, BTW
I need a rest,
look at somebody else.
There. Him over there. That’s a relief.
I like him better.
Professionals should have their colour analyzed in their first year of school, and the Media Communications class first in line. Second in line: Real Estate Agent class. You know how the real estate companies post all those profile pictures of their agents side by side in the newspaper ads? Oh, boy.
It doesn’t have to be perfect to be so much better. Below, I can see the guy and the clothes. Not the guy orÂ the clothes. He’s apart and defined by clothes but I like that they’re there. His pocket square is interesting and says something real about him, in the right amount. Would he be better in black? Doubt it.
Justin Theroux is on the cover of October 2013 GQ, with some great photos inside. Nice choice from the style editor. His image has energy and substance, almost like having him here with me. I don’t read this publication but maybe I should. I have many male clients and get great satisfaction from analyzing the colouring of men. I wonder if GQ dresses all the men this well.
Your PCA gives you the most becoming black alternative. Neutral colours are great on video. Just knowing your best black and gray is miles ahead of the appearance game. Wolf gray and stallion black-brown are interesting and strong. Colours of smoke and shadow are dimensional, full of character.Â Grays are moody, thoughtful, mature, and profound. They work well against the light and dark backgrounds of day and night.
What can you do to learn if black works in your favour or against you? And what to replace it with?
By doing the same thing that Alan Weiss and Chad Barr’s clients do. They hire an expert with an excellent tool kit.
J.T. Used to Look Dull (but really wasn’t)
Having your colouring analyzed is a brand investment.
J.T.* is a personal trainer.Â He loves blue and summertime. As he walked in, Â our reaction was medium. Hair was medium, height: medium, appearance impact: medium. Most noticeable were nice blue eyes and a very fit body. His clothes said exactly zero, as in “I could be anybody.”
Looked like Lance Armstrong in a vague way. We analyze him to find Daniel Craig in an obvious way. Sparklers for eyes, tight skin, gorgeous circulation and vitality in his skin.
A man can dull himself down in wrong colour something unbelievable, and gray his hair to looking 10 years older. Clean, sharp gray is great. It’s electric. Dingy gray is hardly hot.
I react much more strongly to my husband in his right colours (True Winter). In his usual garb, I barely notice him. He’s like a washed out person that I mostly ignore, which is easy because he’s not a big talker. He’s just gets easier to ignore, like he’s camouflaged himself. Hey. Waaaaaaait a minute. Maybe he’s doing it on purpose to be left alone. Oh, dear, is he really that clever?
J.T. looks Spring/Summerish. It’s great to have that colouring, but a Bright Spring pays a very high price to try. J.T. looked like Lance A. will in 20 more years. Buy personal training from him? Don’t think so. He looks like he can’t walk a mile himself and wouldn’t be an ounce of fun.
About himself, he said, “I always have a song in my head.” The colour analyst’s job is to help J.T. show that to the world. That’s the guy I want to meet, not the dial tone guy.
By wearing Summer clothing colours, he’ll never have the incredibly calm eye of a True Summer, with the fantastic reflectivity in eye and skin that Summer colouring attains. Light will never play off the angles of his face with the same silvered edges that a True Summer could have. Never will he look heavenly, as Summers do. In Summer colours, all he can ever achieve is medium. God’s sake, why be telling people that about yourself? It’s a sad day when Daniel Craig drops himself down to “yeah, whatever, I’m pretty sure he has blue eyes”.
Is Craig a Light Spring? Soft Autumn because of red hair (nobody still believes in that, do they?)? Who knows? We’ve just trained two new analysts. The experience was warm and sharing, with a huge amount of new learning about what PCA is, not what it was. They saw first-hand how wrong we are when we guess. I know they would confirm for you that we can’t eyeball human colour dimensions. We can’t even eyeball a paint chip accurately because the biology of our eyes gets confused about colour levels once any colour dimension changes. Comparisons are the key.
And this is before we talk about having any other colour nearby – makeup, walls.
And before we apply hue, value, and chroma to the emotional and cognitive psychology of a human being. PCA is so much about human connection.
Craig’s blue eyes…Light Season, you think? maybe…what are the differences between icy colours and pastels? (Dearest Graduates – rhetorical Q, don’t chime in.) We’ve got your really light Bright colouring people and your really light Light colouring people. Until colouring is put to a measured test by draping, knowing its frequency on the saturation scale, or heat scale, or value scale, is beyond my sense of sight. IÂ do know for sure that it matters a serious lot when they all go shopping.
In the Vanity Fair article, J.T. and Craig seem the same exact man, a little strict but great sense of humour.
Colours and humans are so alike. The moment they get close or touch, they both change. It’s all about relationships as energy fields come into contact. They can’t not change. It’s not in the Nature of living energy fields to be frozen. The frozen kind would be called photographic images.
Could Winters change less? Summer reacts the instant someone walks in the room, offers tea, brings in a chair, suggests we sit on the porch where the breeze is so nice. Winter will notice you 15 minutes after you get there and say Hi 10 minutes later, when they’re done focusing on that pin point.
No, no, joking, that’s not true, everybody’s colour changes the same amount. Everybody and everything is about relationships. True what I said about them noticing you though
After a day together, students see where my analogies come from. The best one to date has to be from R., about a True Summer in school bus yellow, “You look as if you’re about to burst into flames.” We laugh, we relax, the client has fun, and the analyst has fun.
By the time he left, Bright Spring colours in his pocket, my entire assessment of J.T. had shifted from medium and ‘Buy a workout from him?? No way. He looks like he needs help getting his groceries into the car!’ to potent, spiritual, would really care about helping me, funny, fun, energized, pain free, a man who looks like he’d deliver.
Today, J.T. is an ad man’s dream: a 3D, living, breathing ambassador for Brand J.T.
AÂ Note – This website’s information content has grown to the point that articles are hard to find. By request, Archived Posts can now be found as a drop-down menu under Recent Comments in the right sidebar.
Picture this: a search engine for your colour palette!
I believe that we are most beautiful when we wear the colours we already are. Knowing the precise colours of our own pigmentation, all the reds, greens, blues, yellows, and so on, that we were painted with is what a Personal Colour Analysis provides. Wearing the hues of your very own colouring really does make your life better than if you wear the colours that I am, or some other person, or both of us at once. You look better and you feel better Â to us when we look at you.
I want to solve the problems in PCA. One of them is that the user experience needs improving. Finding our colours in clothing should be far easier and faster than it is. No wonder so many people are stuck in black. It’s right there on all the racks. Locating one’s colours, let alone putting an outfit together, takes way, way too long.
If consumers had more available choice, they could make the colour decisions that they know are best for them. This would put some dollar pressure on the fashion industry to provide us with yet more of our colours. We would return less. We’d be happier. Win-win.
I’ve learned that giving a man or woman a swatch book containing their most exceptional colours and hoping they’ll find them at the mall or online is not enough. Part of the fix is education. Time is taken with clients, and even more time with students training to be colour analysts, to learn to harmonize solid and printed coloured fabrics to each Season. The public needs some teaching in how to do this.
The other part of the fix is making items easier to find. The Internet’s power is in its search capacities, most of which are free. The Internet should be working for you, not the other way around. The Internet itself should go around the web for you finding your accurate colours. That capacity to search is already in place.
I send clients newsletters containing items in their colours, with some discussion about why that garment would enhance them so well. This takes me hours and hours. If it’s May, I barely search for Dark Winter, it’s just so hard to find.
Enter Jeremy, the technology member of the team at The Dress Spot. When he got married two years ago, he couldn’t believe how hard it was for his fiancÃ©e to find slate blue bridesmaid dresses with capped sleeves. Right there with you, Jeremy. My friends and I are looking for 60 to 65 colours all the time.
He describes his passion as solving consumers’ issues with technology. The Dress Spot is dedicated to connecting your colours with real-world clothing quickly and accurately. Image analysis is used to determine an item’s true colour as exactly as possible. There are great filters for colours, design features, retailers, and price.
The colour filters are the most thrilling. Open the window linked above. See the colour fan at the upper left? Click it and watch it open up. Now click on one of the colour words across the top. This is about when I started getting excited and thinking “Finally. Finally.”
I picked a very bright green. No solid colour choices. I was offered 6 alternative choices! Looked at the choices, picked a Soft Autumn-looking brown. My choices were green-based, a colour which many Autumn browns contain, because the original colour was green. Found this dress. I mean, this is just lovely. Took me less than 5 seconds.
The dress is here at Nordstrom.
The colours are as accurate as possible. Comparisons are easy. The site is free.
What about Polyvore – a great, great site that we know and use a lot? It’s so gigantic that it’s difficult to actually buy from, and not highly colour-selective. Since fashion is based on crowd direction, the beauty of that community is in the sets that members can create.
I asked Jeremy 4 Q:
1. The alternative choices were impressive. How does the software pick alternatives? Does it keep to a certain hue and give options along the saturation axis? In the alternatives, value seems to remain pretty constant.
Jeremy: It simply moves to a closest color in the HSL space that has a dense pocket of in-stock dresses. Â So it will often keep the Value consistent and shift hues or lightness slightly. Â Usually one or the other, not both. Â I wouldn’t say it necessarily stays within the Season.
2. Once an item is sold out at the retailer, how does your site manage it?
J: We update our inventory twice a day to ensure that nothing is ever more than a few hours from live data. Â Additionally, most dresses on our site are sold by larger retailers who don’t go in and out of stock with any volatility. Â They’re pretty slow to go out of stock. Â I’d estimate at least 98% of our inventory is current at all times. Â We drop retailers who don’t update their inventory status frequently enough for our quality standard.
3. What about prints, of which I see a few, and solids?
J: Right now we support ‘multi-color’ vs. ‘solid’ (which you can toggle with the ‘multi-color’ checkbox under the other filters on the left). Â Multi-color basically means anything that isn’t a solid color. Â Things like stripe and specific pattern filters are new technology we’ll be rolling out in the next few months.
J: We have many formal dresses from Nordstrom et. al, but we’ll be adding Dessy (a leading bridesmaid dress manufacturer)Â next weekÂ and hopefully David’s Bridal soon (again, for their bridesmaid dresses). Â Bridal gowns, on the other hand, will likely not be included for a while. Â Bridal gown designers are particular about their dresses’ distribution and have strict agreements with their chosen distributors/retailers. Â That industry is very non-digital.
My suggestion was professional wear. I asked Jeremy if he foresaw a site that could analyze the colours of a skirt, and suggest shoes and a blouse based only on the colour matching skill of the software, skills that this site appears to already have in place anyhow. He said, “Hmm. That’s interesting.” Good start, ay?
Here’s a question for you, dear readers: What’s your most frustrating part of finding clothing in your palette colours? If your brother were a coding genius on sabbatical, looking for something to do, with no limits on what he could design, what kind of colour shopping app would you ask him to build?
If you played with the site, what impressed you or didn’t work so well? If you had Jeremy’s job, what’s the first thing you’d do?
Someone might say, “Could my Season colours be coded in specifically and grouped together?” I agree! It is high time you had access to that. I am so happy to tell you that it’s in the works.
You are a hugely intelligent and creative group. Please do help to shape The Dress Spot into a tool kit that is expressive of how consumers like yourself, with exact knowledge of their own colouring, could benefit even better from the online clothing purchase experience.
Q: Why is learning Yoga like learning your colours?
A: Because it’s the same as learning anything.
It takes a Winter to make black look interesting, deep, meaningful.
Only a Summer’s colouring can take pastel yellow, and greenish yellow at that because how else can you make yellow cool but add blue, and have it look happily, generously, fully, softly, buttery yellow.
The drape colours and our clothing colours, they have an effect on us. We have an effect right back on them.
The heat of True Autumn doesn’t look too hot under that face, nor does it make her face too yellow. The gold, teal, and bittersweet look perfectly at home and she looks peaceful and honest, Autumn’s claims to fame. I so love these qualities in these people. There is nothing for neuroses to stick to. It just bounces back in the best way.
The Dark Seasons aren’t necessarily dark to look at. There’s lots of hair and eye variation, just like any other Season. What Dark means is that on them, dark looks normal. On other colourings, it would look too dark. My ‘normal lips’ lipstick is darker than you’d expect because as a Dark Winter, my colouring takes dark and turns it into right. Once we learn our own colouring, we control the retail world, a nice change from the other way round, which is how most folks live.
A Spring guy in Autumn colour tells the world, “Hi, I’m John and I’m a little angry all the time. Watch out, I piss off easy.” And yet, nothing of the sort is true, but no wonder nobody will give him leadership positions.
You walk into an office. Before you cross the carpet to shake his hand, the Autumn guy in Autumn colours has said to you, “I am THE guy who’s going to get you and your 8 cats out of a burning building.” And as you cross that carpet, you think, “Buddy, you are THE guy I want around to get me and Poochie out of the fire.” If he’d been wearing Summer colours, he looks lucky to get himself out, let alone Poochie and you.
Find the first edge of your Season. Settle, wait, and become. Grow back into your natural colouring.
Here’s a stereotype for you: the Bright Winter being told she’s a Light Summer. Happens often. Both are Neutral Seasons that have much in common in 12 Season personal colour analysis (PCA). Both add the same amount (small) of the same kind of heat (Spring). But we forget the differences between icy and pastel and can’t interpret them on a human face without right drapes. Bright Winter’s super concentrated blue looks normal on her, just blue, even more normal and balanced if it’s shiny. She looks reasonable in it. Reasonable, exciting, and could be taken perfectly seriously without being remembered only for what she wore.
Digression 1: about comments that Winters can’t be blonde-haired or beige-haired and blue-eyed because it lacks in contrast. It simply isn’t true. Please, come and watch a real analysis with accurate drapes. Please, at least be open to the possibility that there is another way. Once you see this person balance pitch black, or once you watch their presence fade, the lower half of the face weaken and recede, see the face appear dusted with white powder in Light Summer colour, the face become mottled and yellow in Summer whites, you begin to understand. PCA is about discovering your natural colours. If this light-appearing person harmonizes with pitch black and pure white, then they contain those pigments. Therefore, they contain the contrast of a Winter. The fact that this information can’t be discerned by staring at the complexity of a human face doesn’t make the information incorrect. It’s the part about knowing human pigmentation without measuring it that might need some revision.
Digression 2: I see things online about the relationships between Neutral Seasons that have a similar start point and add the same amount of the same kind of colour warmth/coolness. So, Dark Autumn and Bright Spring begin as pure warm Seasons (True Autumn and True Spring) and move one step into Winter. When they share colours, to my eye, it doesn’t work as well as the theoretical/conceptual argument would have you think. Keep the overall balance in mind. Try not to borrow from the other palette precisely, but rather from a space between it and yours. It’s not a bad idea at all, it’s quite clever. There is a relationship between these groups for sure, as there are many relationships between the groups of natural colouring, the Seasons. I find the Winter Neutral Seasons of Dark and Bright actually do better in True Summer than Soft or Light respectively. True Summer is just a little warm relative to Winter, has more clarity than Soft and more darkness than Light. The overall of True Summer looks closer to home on a Winter Neutral than Summer’s Neutrals do. In clothes or drapes, it’s the True Summer that looks better on Dark and Bright Winter, IMO.
On a Light Spring-coloured person, Soft Autumn colour looks bulky and chunky.
The reverse: an Autumn woman wearing Spring colour. Well, you know how tiny, dinky jewelry on a large-framed body can make the jewelry look smaller and the body bigger? The strength and substance of Autumn colouring forcibly placed Â next to Spring’s lightness and fun makes the face look more solid (I’m trying not to say masculine) and the colours immature and inexpensive. In her right colours, Autumn women project all the feminine beauty that Summer can in Summer colours. I mean, Autumn is Raquel Welch territory. There’s a reason that picture of her wearing a fur bikini was iconic. Wouldn’t have happened in Twiggy psychedelic daisies. Even at a tiny level, this effect takes place. A Soft Summer woman wearing True Summer colours looks a little more muscular or macho somehow.
On a Light Summer, the Bright Winter colour is the only thing you see. Even if it’s only one part of an outfit, it becomes either the only thing you notice or the only thing you don’t notice. Of course, there’s a middle ground, where a dark Soft Summer that’s a bit more saturated could be close-enough-is-good-enough on a Dark Winter.
What’s really good about these relationships is that they get the heat level correct. That’s absolutely huge. It’s amazing how just getting this one colour dimension right changes your whole appearance and the feeling of your appearance. In cool colour, you look grayed and a little cyanotic. The good news is that your transfusion is as easy as changing your shirt. In too warm colour, the skin is yellow, teeth yellow, eyes dull, bone structure is blunted and flat, all true whether it’s your hair, foundation, or clothing. It’s so hard to get cool foundation. All these makeup artists talked companies into yellowing foundation, but it’s way too much. Chanel, Merle Norman, some of the L’Oreal True Match, they make some decent cool choices. Cool foundation, especially Winter’s, is grayish in the bottle.
Some theoretical arguments don’t work well IRL. For instance, you could draw a line in colour space where 2 Seasons meet and there would be some shared coordinates, meaning colour dots belonging in either Season. No right or wrong, it depends on the system and the palette designer. I have never once seen the textile colour that belongs equally well in 2 groups, nor the person in 2 Seasons. This is partly why other PCA systems don’t cross-over well into our Sci\ART based system. Not only is their logic process different to arrive at the Season, but the colours often belong to more than 1 Season. In Sci\ART, at least my vision of it, every colour stands alone and every Season stands alone. That’s a very big deal as distinctions go. Our drapes don’t work with other systems, nor their drapes with ours. You can’t just say, “It’s all colour analysis, should be interchangeable.” Trust me, it ain’t. You’ll get yourself in a mess that will need some fixing. (more about this in the comments to the Career article, one back). I am absolutely not saying that one is righter or wronger because every system and every vision has its merits, just that they don’t mesh together.
We should be defined in our clothing, bringing out the best in each other. Our face should be in front of our clothes and distinct from them. A Bright Winter in True Spring colours is very close to greatness. Except that she is draining the colour from the fabric and backing it up from our awareness. The lower half of her face is disappearing into the garment so her presence is dissolving into her clothing. The face yellows and the drape is already yellow, like a big yellow circle of flatness. There’s no excitement. Another person or analyst might see that as harmony or as a glowing tan effect, but I don’t. Â A difference of opinion perhaps. It depends on your ideal of beauty. You might totally subscribe to Hollywood’s love of a solid yellow wall of hair. That’s great and fine, but I wouldn’t. We don’t all need to line up behind the same idea. There is no right and wrong here.
Summer’s skim milk white looks as cloudy as skim milk white is relative to Winter white, placed under a Winter face. They don’t belong together and push each other even further in opposite directions. They find the thing that makes them most different and widen a little adjustment into a chasm of unbelonging. Under a Summer face, her white looks like white. Just white.
Notice grouchiness, confusion, and doubt. “They don’t make anything in my colours.”
I ask students, “In that colour, how does the person look like he’s feeling?” We sense that he must be feeling in a way that he doesn’t at all. Bright Spring in Light Summer colours can look feeble and frail. Like, “Hi, I’m Ted and I’m exhausted.” No kidding he’s had trouble getting hired. His inner and outer energies come rushing back when he wears what he is. Vitality and health can be as simple as choosing a different T-shirt.
The Dark Winter in Soft Autumn colour announces, “Hi, I’m Ellen and I’m running out of gas. I’m checking out.” Change your shirt. Suddenly, your hair looks clean, more coloured, the skin is tight to the bones, all good. Suddenly, people are more interested in giving you money.
A Dark Autumn wearing Light Spring peach looks like a log cabin painted blossom pink. It’s irrational. A floating, disconnected head. This picture says, “I can’t make reasonable decisions about myself. How likely am I to make them about you?”
Colour analysis matters. Every person should have this information about themselves by the time they are 20. Like a social identity. Social competence has incalculable value in this world. Others decide this about us within about 10 seconds of seeing and greeting.
On a random clothing rack, Soft Summer colours are the grayest relative to all the other colours. The Winter colours are the boldest and darkest. Maybe our character tries to equalize itself, or find balance for the traits that are more extreme in us, so we reach for our opposite. Many a person with Summer’s type of natural colouring wants to project more push by wearing Winter colour. It backfires. Now, the only thing you can see between her nose and toes is the garment. By comparison to the clothing, the woman has faded away even more. Now she looksÂ muted, where in Summer colours, she would look fresh and gorgeous.
She stays with Winter. Hair colour that was fresh, natural, and lively gets is run down and washed out against the Winter background, so she tries a few hair colours. She tries darker eyeliner. But all those bold colours don’t tell the world, “I am audacious and adventurous.” because we can barely register the person at all, nevermind find them daring. The person who is meticulous, tolerant, perceptive, precise, and soft-hearted is telling the world,
“I am unplanned, indiscriminate, possibly abrupt, possibly intense, and possibly odd.”,
so, even before introduction, from the time it took them to get from the door to you, you think, “Note to Self: Prepare. This could go a lot of different ways.”
Ten minutes later, you think, “Wow. This is the nicest person ever. I could talk to them for a week. Didn’t see that coming.”
Once Summer pulls their own colours from the closet, the magic happens. Â The wavelengths synchronize instead of competing with and neutralizing each other. The whole picture unites. Those grayer colours aren’t gray at all on her.Â They’re fully energized, present, and focused, and so is she. Her hair is very colourful and enhancing.
Remember that you are safe. You already look way better than you used to. From here, it just gets better.
Bright on Bright = Normal
Bright colours donâ€™t look overly bright on Bright Seasons. It’s the rest of us on whom they are too strong and more than we are, a distracting challenge to our natural colouring. On non-Brights, the colours say, “Look at me!!! Look at me!!!! Forget about her up there. Look down here where all the action is!!!” We would look drained and erased, worn out from always competing with our clothing. Not so on the Bright colouring. They look normal.
A Bright Winter can drain colour from most any fabric, including Dark Autumn and Dark Winter. She can dull Dark Winter’s strong coral rose into looking like True or Soft Summer colour.Â Under her face, Dark Autumn’s fabulous, rich, full, bronzed raisin looks drab and plain, maybe even a little dirty. Which is how Autumn makeup looks on her face.
Even True Winter, one powerful set of colours, looks washed too many times on a Bright Winter. Plus heavy and blue. No excitement. The whole image drags down. Change the drape. The lights come on. The whole picture lifts up. The lines all focus and turn upwards instead of like melting ice cream.
Many Bright Seasons, Winter and Spring, have beige hair. They contain Spring, after all. They often feel the hair is mousy and blah. It sure is if they’re wearing muted colour. All the life goes out of it. Out comes the hair chemistry. If they’d just change their shirt, the hair would sparkle. Bright Season hair is never ever mousy in correct colour.
Trust. Just let gravity take you. The great clothes and cosmetics will start showing up just because you’ve asked them to. Give it your attention but don’t stress. Effortless effort.
A Bright Season in their own colours doesn’t look like a Hiliter marker or more noticeably coloured than anyone else. Her red just looks like normal red. On someone else, the shirt would walk into the room before she does. It’s only on a Bright that it wouldn’t behave that way.
She doesn’t need to shop for shiny purple or neon pink. She just wants to repeat certain colour properties to look normal. That’s what it takes for her to look like she really looks. Colour analysis will find you a pretty lipstick but it’s way more organic than that. It will find what you really look like, in colour, line, and texture. The feeling in the observer is, “Oh, is that what you really look like? I couldn’t see you before. You were distorted.”
You know how when people take off their glasses and you suddenly get a whole different picture and feeling? It’s like that. An artist could paint you with a thousand different facial expressions. The viewer would expect a thousand different women to own each face. Might as well broadcast the real one.
New Bright Seasons may experience disappointment bordering on fear. She has seen her colours on others and thought, “Oh, that’s just too much.” Yup, on them, it sure is. But the rest of us see those colours on you, not on your hanger or on everyone else in the room, the way you do. On you, we think, “Fine. Nothing to adjust to. Normal. Enough. Good. Interesting. Complete. Balanced. Clear. Healthy. Easy to look at. Nice eyes. That woman gets herself.”
She’s here for us to interact with. Otherwise, she’s partly invisible, a place where many of us feel so much safer and try hard to find a reason to justify staying. And oh, boy, when a PCA is pulling out of your hiding place before you’re ready, it’s panicky. Go with it. It serves nobody to play small.
We compensate in so many ways to disguise or adapt our personality, often without knowing it, often in response to demands of the environment, parenting, society, and all the other pressures coming in. In the never-ending journey toward self-knowledge, surprising examples of being untrue to oneself turn up.
Surrender to stillness. Don’t overthink it. Just be in it.
Easing into the Bright Seasons.
You don’t have to wear the test drapes. They’re just measuring you.
You are not head to toe poster paint as a Bright, or dishwater as a Soft, or maudlin if a Dark. I use words that separate the palette from all the others in the mind of a person considering all 12. I have neglected to clarify that solo on the right wearer will it not look as extreme as the description. It finally makes sense.
Combinations matter. Add zing, your way. Wear dark teal jeans, a peach blouse, and wind a shiny, Chinese silk, peacock-printed scarf round your neck. This is a very different Winter from the other two.
The heat matters to Bright Winter. She needs to add the sunny, the sunbeam. This colouring shadows easily in too-dark or too-blue. Bright Winter is close to Bright Spring. A person could design those colour palettes to be closer to True Winter or Bright Spring and still be within the realm of Bright Winter. Who’s to say either is righter or wronger? They need the heat in their colors.
She forgets that the saturation only means pure pigment. It does not mean vaudeville, hussy, burlesque, or Halloween clothing. Purity of pigment matters. Even in True Winter, a palette of pretty high saturation, her skin will dull to the exact degree that True Winter is dull relative to Bright Winter.
The overall picture is too dark. Bright Winter is significantly lighter than the other Winters. Although the darkness range is similar to that of True Winter, the global impression is definitely lighter. Many of these folks have medium beige hair and blue eyes. Even if hair and eyes are dark, there is a light-bright reflectivity in the skin. Too dark or too blue moves to gaunt very fast here. Black is not automatic at all. Very very unique type of Winter.
She’s got the colours right but the garment lines are too straight and serious, when she’s not linear in her body type. Natural shapes make stripes feel like jailhouse prints. If you’re very rounded in your outlines, you should be shopping at Victoria’s Secret. Straight lines don’t work with your curves, they over-accentuate them. Two differently shaped garments tell a different story, despite being identical in colour.
If your character is flighty and whimsical, banker’s stripes make you wonder if the analyst got your Season wrong because your spare and linear-thinking Bright Winter friend looks so good in them. Your analyst did fine. No two women of the same Season will wear it best in the same way. Your colours are when your clothing, cosmetic, and hair colour journey must begin, but it’s not where it ends.
Her makeup is too strong for her age. If you’re 20, wear sheerer and lighter. Feature definition looks like youth but adapt it for your age.
Her makeup is too dry and opaque. High pigment in transparent application is better.
Shine is better than matte. Satin and frost shine is better than dewy and wet shine if Winter, the reverse if Spring. Distinguish the two types of shine in your Â mind. They look different to the rest of us and tell a different story.
Fun matters. Wear something happy. A polka dot leopard pin. A black watch with a gold daisy motif in the face. Button-down classics drag the whole thing down.
Sweetness. These folks have a cute quality when they’re 70, like kids in an adult body. Add baby peach, yellow, candy colour, peppermint colours. Find colours that would taste good and a little sharp or a little acidic. (But not bitter/vinegar, which is better on Dark Autumn)
Ease in with bigger neutral blocks and smaller colour blocks at first. A Bright might look boring in too much neutral colour, maybe more so if a Natural body type. The 3 Springs are this way, but it extends to Bright Winter, who needs colour in a sharp way, and the Light Summer who is also flattered by colour in an analogous type of scheme (colours that are neighbours on a colour wheel).
Try the bright colours further from the centre in the beginning, as nail polish or a handbag.
Limit to smaller pieces for shine. A watchstrap. All Winter does well in some type and amount of shine.
Explore the lighter colours. I completely disagree with the hair colour myth that lighter hair colour looks younger on all women. I do agree that all colour, and light colour in clothing, looks younger than the Safe Black don’t-notice-me uniform. These can be hard to find and take practice to match. Learn to lay the open palette on the garment rather than matching one little square or dot to anything. That’s what you look like in that garment. Do the light colours of the palette look either wimpy and weak or too strong, sparkly, or separate relative to the garment? If they belong together, the two should just settle in.Â Great clothes are part of you, like a great rider and the horse are part of each other. Picture how it would look if horse and rider were out of stride. That’s how wrong colour feels.
Uplight with pale gold for Spring, in sharper lines if Winter, like NARS Albatross.
Our colour palette is where we begin. From that platform, we find our contrast level. the blonde haired blue eyed Bright Winter is a little more gradual, but still supports black mascara than the Asian Bright Winter.
Melt into a new friendship.
Live with it for a month. Then go back and try on the clothes and cosmetics you wore before. Do they still feel like home?
Just like feeling irritability in a pose, if you allow it quietly and calmly, it Â might flip to its opposite: Peace.
They’re almost ready. Finding a wide variety of stunning colours for the Â three Winters that are not all Prom Satin and Wedding Whites in May and June is not so straightforward. I anticipate the end of August when they become available to purchase.
I want to talk today about the purpose of these Luxury Drapes, how they serve your client and your business as a 12-Tone or 12-Season personal colour analyst. They build value for your client, plain and simple, where most of the decision-making should be based. Your service can offer more, the client receives more, your credibility climbs, and your business name earns its reputation for fantastic payoff for the fee.
Before we get on to their purpose, we could talk about what they are.
Before that, we should clarify what the Test Drapes are and their purpose.
Â The Test Drapes
The Test Drapes are fabrics in colours that are organized into groups. You can call the groups Seasons or Tones or Natural Colouring Type. Each group shares the same or similar dimensions of colour (light-dark range (value), heat setting (hue), degree of pigment concentration (chroma or saturation)). The groups walk us through 12 combinations and controlled levels of the colour properties,Â moving along through a logic tree, comparing a human being’s colouring to themselves, until the best harmony is found. The tag on those Best Harmony Drapes is the client’s group or Season.
The Test Drapes (those I provide to my students and Terry Wildfong’s) are not intended to be a client’s best colours. There are no catch-your-breath WOW OMG colours in the Test Drapes. If there are some, it wasn’t planned, but OMG does happen because synchronous wavelength feels good to be around. We live on a planet of wave energy. We emit it ourselves. Seeing it feels almost like remembering or reconnecting. It’s a form of recognition, as “Oh, so this is how this is going to happen.”, like when a door opens and something you’ve been trying to figure out is suddenly easy and obvious.
People write to me saying they’d love to be trained as colour analysts because they’ve loved colour so much for so long, but they doubt their ability to see the optical effects I write about. Seeing it takes a little practice to learn what you’re looking for, that’s true. Seeing it isn’t the hard part at all. Everyone sees it. That’s the point. That’s why it’s so important to have it done and know your own colouring. The family members watching see it plain as day right from the start.
More requiring is coordinating how to think with what you see. Learning to plug the data that your right brain (images, impressions, emotions, associations, big picture observations) and left brain (measurements) are collecting as you watch the drapes change on the client
into an impartial deductive process that doesn’t overreach, get overly excited too soon, jump to nervous conclusions, or let in thoughts that begin with “It can’t be…” – I will let newly Â trained analysts speak for themselves but I would guess this is the harder part.
The Test Drapes are a ruler. A measuring tape. Instead of measuring bust, waist, hips, they’re quantifying hue, value, chroma. It’s hard to do by looking. Our visual system starts overlapping incoming signals. Warm colours often look more saturated than they are, like True Autumn. We can’t look at a blonde-haired blue-eyed person and see that their most significant colour dimension is highest saturation and know that they’re Bright Winter. If we just look, my belief, we literally can not know, as in not capable of knowing, because our eyes are not biologically set up that way. We have to measure.
Client can feel a little discouraged when they watch the Test Drapes, “You mean to tell me that these are the colours I have to wear????”
It’s natural and normal for the client to see the Test Drapes as potential clothing. They could be, but that’s not the point of them or how they were picked. It’s not the client’s job to understand their purpose. It’s the analyst’s job. We can reassure her that she doesnâ€™t have to wear these colours and yet, with every drape change, she’ll say, “I would never wear this colour!”Â The analyst has to keep saying, “You don’t have to. Youâ€™re not supposed to. They’re measuring you.â€ and be just as patient and happy about it as Beyonce when she climbs onto a stage to sing that same song for the 399th time.
The client’s response has some value, but not a lot. Half the people out there are drawn to colours that suit them and half are not. The analyst has to make independent decisions. Asking the client, “Is there a colour you’d never wear?” tells me more about how permissive Â she is about colours, how defensive, how open to change, or how adamant about not changing. It does not inform me as the analyst about what colours live in her body. Most folks carry too much convoluted colour history to know which colours do or don’t suit them, much less live in them, and they tend to lump them together. “I can’t wear green.” applies to nobody. Many Light Summers won’t wear yellow – yet, they’re made for the right yellow. It’s in them already.
If Â Terry and I picked middle-of-the-Season colours for the Test Drapes, you’ll need to be some Hot, Sharp, and Well-Rested colour analyst to make the right choice. New graduates won’t thank me. I wouldnâ€™t thank me. If I met me at a party, I would give me the cold shoulder for making my job so much harder. Â The colours have to be extremes. They should be a very awkward fit for every colouring but one.
The Test Drapes are chosen to be colours no other type of natural colouring, or Season, could wear as well or at all.
Now if it’s splendid colours you’re wanting, I have an answer for you.
Â The Luxury Drapes
The Luxury drapes are shown to the client once the Season is known and the Test Drapes are hung up. I show them before makeup with the gray scarf still over the hair, since that’s how our eyes learned her colouring, and again after makeup. She sees a selection of her beautiful colours in textile. It helps her make the leap from the swatch book to fabric. This is how she will understand her position within the 3 dimensions of colour in the physical world, how the idea will move from theoretical concepts inside her head to an idea come to life on the stage of her life.
A colour analysis is a huge experience squeezed into 3 hours. The client is taken way back to the most authentic trueness of herself. All the junk and inventions that have piled up over the years get flipped away. The Luxury Drapes are the first step in building her back up again, letting in only what’s real and right about her so she can recognize it forever more.
Sci\ART, the company whose founder, Kathryn Kalisz, developed this most remarkable system, Â used to sell sets of 8 and 15. I only have the 15s. IDK if the 8s were the same Â fabrics or not. I am aiming for 12. They’ll only be sold as 12 sets of 12. I would love to find enough colours to offer 15, but it may be a case of, “You can have them right or you can have them now, but you can’t have them right now.” If I hold out for 15, it will be next year before I can offer them. If sets gets larger in the future, we’ll figure it out with those who bought early. Offering smaller start-up sets isn’t likely to happen. I’d have to keep track of which colours everyone bought in Round 1. I might have all different fabrics once you’re ready to buy Round 2. Or worse, some fabrics may be too close to what you bought in Round 1. Save up. Do it once. Do it right. Don’t look back.
As with the Test Drapes, the Lux Drapes will be available only within the Sci\ART community, with priority given to those who have taken the training course from Terry or me.
Use the Luxury drapes as a means of developing her understanding of how to wear her colours. We can talk about saturation levels till the cows are home, milked, and fed. When she positions her limits is when she sees and feels them, not when she thinks and hears them. Colour is visual.
Seeing her colours as selected by an analyst helps her understand them. They can be compared to neighbour Seasons. Don’t show her Bright Winter periwinkle without showing Bright Spring’s alongside it, even just in the swatch books. Without visual comparison, our brain is stranded.
The Lux Drapes are her gateway to a world of possibility limited only by her creativity. She steps into a pleasure of harmony between her and everything she wears that she has not felt before. When the client leaves your office, it will be from your script as she met the Lux Drapes that she should be able to say a few words to a friend about these aspects of the new wardrobe that she will build and shape in time,
. her darkness range – is she white to black, chalk to pewter, or some other?
. her lightest colours as distance from white
. importance of contrast for her colouring and how to adapt it in attire
. purity of pigment, or saturation, and how to recognize it
.Â the unique radiance or glow that her Tone can achieve more beautifully and believably than any other
.Â use of correct hair and eye colour, explaining why hair colour is not always in our palettes or drapes
.Â her right and real hair highlight
.Â eyeshadows and neutral colours
.Â use of texture and how it influences the dimensions of her colours
.Â most flattering type of shine in fabric and metal
.Â colours of metals that flatter her most
.Â her best version of white and black
.Â what it means to say warm and cool versions of her colours if she’s a Neutral Season
.Â her best red lipstick red
.Â the complementary colours to skin undertone colour
.Â the unusual, unexpected colours
.Â how she will add interest, risk, fun, authority, or imagination to outfits… and look smarter, more trustworthy, and worth more $$
.Â how to begin incorporating the colours she finds more challenging
.Â colour schemes and combinations that work with her and for her
.Â a visual for colours that are not used to test, such as purple
.Â the fact that she has many colours that are not among her swatches, and how to achieve harmonic agreement in shopping situations
.Â that we really mean it when we say every colour goes with every other colour and she doesn’t need to own different makeup for different outfits anymore
.Â what to never put down money for again
. feelings of nervousness about exploring a new world she didn’t know existed, of colours that felt challenging, of some work ahead to make this place into a new home, and feeling that she has the tools she needs, will get better with time, and seeing the road ahead going forward and up
. how empowered she feels in this Â moment by all the knowledge you gave her, by knowing the colours of her parachute
Analysts would probably agree that many clients ‘get it’ for the first time when they see the Lux Drapes, or get how they’re going to do it.
The Luxury Drapes can assist in confirming Season. SomeÂ people’s colouring sits on the 49/51 border between two Seasons. Â Look for the magic. It will only be in one Season. Compare similar colours from each possible Season that the other would not wear as well, a blue to a blue or a red to a red, choosing the extreme versions. Every single Luxury colour has been harmonized to that Tone using the original Sci\ART palettes and the excellent palettes from True Colour Australia. For the client who hasn’t been convinced with the Test Drapes, the Luxury Drapes provide another means of increasing their confidence in their Season.
You can arrive at the correct Tone using the Test Drapes, of which you have 3 more per 12-Test Season than my original Sci\ART sets. You can be in business for a year or two before buying Luxury Drapes, or you may never acquire them. They are the next level investment.
Luxury Drapes are not the place to cheap out.Â I didn’t skimp on fabric. If it was evocative to me of that Season’s unique and unparalleled beauty, I bought it.Â This is the analyst’s chance to shine, to be irreplaceable, indispensable, to tell her things nobody ever has, based on all the scientific testing you just completed. This is where you pull it together for your client. They’re your client’s first chance to see and feel how her colour home will recognize, welcome, accept, and support her. As partners, join her in the first leap from the theory of the Test Drapes and Colour Book swatches to the reality of how they translate into clothing, cosmetics, hair colour…every thing she will buy from now on.
As the analyst, they are your best chance to change her relationship with an idea using something she understands. She doesn’t understand the hue/value/chroma package well enough to really use it in stores. That’s analyst jargon. Of course, it’s important to present it as the scientific basis for the process, but she won’t retain much from a crash course in colour theory, let alone call on it to guide her hair colourist. We need to speak to her in her language, not ours. Understanding how the pancreas secretes insulin is not going to help her manage her diabetes. That’s the doctor’s job. Knowing how to choose her diet and adjust her insulin dose, those she can implement tomorrow to make her life better. Seeing how her colours translate into fabric is what she’ll apply in stores at least as well as her chroma level.
The Lux Drapes are the wave up to which the whole colour analysis experience is building. Let them wash over her. Go slow. Let her soak them up. Use them as the fantastic teaching tool they are. Use them to position your business as a part of her life she can no longer shop without.
The term Soft Dramatic (SD) is one of 13 Image Identities from David Kibbe’s extraordinary book from 1987, Metamorphosis. If you can find yourself, it can be an astounding key to your best clothing line. Â I am so NOT a Kibbe expert. I’m certain that if he looked at my Polyvores, he’d think, “This isn’t what I meant at all.” Reader beware.
This question from J:
I’d like to add femininity to casual wear but sometimes I don’t know how. Mrs. Tuttle (of dressingyourtruth.com) has helped with that a little, so I know now that I like silver teardrop earrings, lace, cowl necks, and ruffled scarfs. How to add glamour into your everyday life/work? I used to want to appear as strong as possible. Now I have softened it down a bit, and, big surprise, no one ate me.
I think I have the most difficulties separating the True Summer from the Soft Summer in the range of beiges/taupes/browns and the range of corals/reds. Kind of the colors that we see as “warm” per se. Maybe also some of the greens, that are not actually blue greens, but more along the “grassier” or khaki side. The more unusual Summer colors, I guess.
By the time we’re working with neighbour Seasons in 12 Season colour analysis, and from the same parent Season, like True Summer and Soft Summer, finding words to help you distinguish them is not possible, at least not for me. They’re just too close if you look at them one swatch at a time. Trying to find your colours that way may be part of why PCA fizzled 40 years ago.Â Going back and forth and back and forth and back and forth from one colour dot in a swatch book to a piece of fabric Â will only make you irritable and the store staff even more so.
My best advice is to learn to look at your entire palette when you try to match a garment to it. Have a read of the article Getting More From Your 12 Tone Swatch Book.Â This is a total woman, head to toe, all the colours together all the time, big picture situation.
If you’re a precision person, as Summers often are, you’ll want to own both True and Soft Summer swatch books. Compare them both to a garment by laying them flat and fanned out on it. You’ll see which is best. Sometimes, it’s very hard, in which case, it just doesn’t matter enough for clothing. For drapes, that would be a fabric I’d never use. How can you test with it if both work? When you look at only one, one anything, your visual system is stuck. It’s like asking someone if this colour looks good on you. They’ll say Yes. What they should say is, “Compared to what? Show me two and I’ll LYK which one is best.” That’s how our biology is configured to get information from vision.
You’ll want to own Colour Books from different companies. The more ways you see and read about your colours, the more sense they will make and the more recognizable they’ll become. You’re looking to replicate a feeling, not a particular colour.
Also, to my eye, color not only flows from cool to warm but also from one color to the other. So, sometimes, I just don’t know, if, what I look at is a grey with a lot of purple in it or maybe a very greyed down purple?
We’re not comparing apples to apples in that question. Colour always flows from cool to warm. It’s built into the physics of how light strikes objects. It can’t be altered or argued. In the 12 Season sequence, the heat setting of one palette shifts to a warmer or cooler setting as you move along to the next Season.Â If the two purples you describe belong to True and Soft Summer, one will be warmer. If you paint them as two dots and let them run together, then the colours will indeed flow into one another, but the two ends and any given colour between them will only belong in one Tone’s palette, the one whose colour dimensions (heat, value, chroma) match those of the colour.
I get the feeling of coolness and freshness that you described. What I don’t understand here is the softness. Soft as opposed to True Winter, yes. But then, when I’m in a store, all those colors mixed up, that is not the feeling I get.
Regarding the image above, understanding ‘softness’ in your question to mean low saturation rather than draping fabric, and choosing apparel line and styles randomly just to demonstrate some colours:
Summer colours are on the left. They feel watery, misty, calm. Not heavy. Far from white. A little heathered.
Winter colours, on the right, feel more aggressive and intense. Â They have more green. More colour. They’re further from gray. It’s hard to tell though, because as colour darkens, or as one colour dimensions changes in any way, we find it tougher to judge the other two colour dimensions. The top one seems too close to white for a Summer and I don’t pick up heathering.
Neither one is at minimum or maximum saturation, because True Summer and True Winter are not. What matters most is that they’re cool. Even that’s hard to tell. Winter’s green can look warm, I suppose because the blue and yellow that made it came from Winter’s paintbox, where the yellow is intense.
What about the center column? I wouldn’t know if those are Winter or Summer any better than you would just by looking at them.Â I’d have to lay the palette on the garment and see if the two were equal or if one loses energy. You’ll see this happen. The Summer palette will dull if the fabric is Winter. The swatches will be much too strong and bold if the colour is Summer. You’ll be able to feel which one is at home for most fabrics. If you can’t, it would probably be fine. You might need to own the Winter Book. The more precise you want to be, the more precision tools you’ll need to acquire. True for carpenters, musicians, and colour matchers. Not a big thing. Probably costs less than two blouses. You won’t learn this by owning one Book. You’ll get it as soon as you own both.
Clothes in photographs are just like people in photographs. A little off. You can take a hundred pictures of the same person, same time, same place. They look different in each one. Can’t tell what’s true. In real time, our brain can adjust for that, like it does all the time with all the white we think we see that would not be pure white, were an artist to paint it. For survival, our brain has adapted to learn when to get visual information that means white, even if the colour isn’t white. We see many photos of women trying on clothes. When have you ever met anyone and had them look just like you expected? Never. If Mr Kibbe writes another book, I hope he puts in lots of group photos.
I do get a feeling of elegance. The same cheap sweater, that looked so funky and trendy in Autumn’s beige, managed to look somehow more expensive in the blue-grey. Seems elegant and calm to me and… nothing! There’s nothing added, no warmth, no “pop”. It just stays as it is. I used to judge that as boring and without personality. Now I’m open to see if one day it will show me that there actually is something. Maybe I just can’t see it yet.Â I wonder if what I’m asking for is a comparison of the visuals for the three Summers.
True Summer, like True Winter, isn’t an overly colour busy Season. In the Winter’s case, it’s because every colour is so much that one at a time is plenty. In the Summer case, there’s a tranquility, with none of the agitation that accompanies heat, whether smoke (Autumn) or sun (Spring). The softness of the colours means that they weave together more fluently than Winter. Even a hint of hectic or functional takes the feeling off track. Also no giggles, no sarcasm, no squirting (Spring), and no forcing, no pushing, no controlling (Winter). All is perfect andÂ all will be perfect. Not rugged, earthy, productive, or work-related (Autumn), no showboat, glitter, or anything synthetic (Bright).
A visual for True Summer: the Japanese Zen garden.
Peaceful, green, strong, by no means self-effacing, monochromatic, courteous, the penultimate of diplomacy and respect, meditative, reflective, cool but not dark, searching.
Soft Summer’s visual is heavier, more solid and substantial, a rock garden, a woodland. Light Summer’s has movement and lightness, a fountain.
Maybe also some jewelry advice. I do fine with the T2 lines for that, just not as huge as they present everything. But I find it very interesting, that they are all about teardrops and elongated s-curves, all very looong, while you mention the circle as the True Summer shape.
That circle shape came from my imagination. It is not a fact, it’s a blend of what I’ve read, seen, and thought about. There’s no more truth in it than if you said, “I think Summer’s shape is a pentagon.” There are no facts here and only a little logic. The left brain isn’t the one doing this. We’re not measuring anything. I could see spirals too for the true cool Seasons, though more in Winter since they begin and end in the deep center, which has True Winter written all over it. The trailing vine is definitely a good Summer shape. For many, their hair follows this line. Every Season could have many shapes. So could every body type. Some see triangles for Winter. I don’t feel it but I can see why they do. Spring is more triangly to me, though more the zigzag than the closed shape.
Jewelry shape and line is decided by body type. Its colour comes from your own natural colouring, your Season or Tone. A Dramatic Classic True Summer won’t look as good as she could wearing long necklaces or pearls. You’ll barely even see that jewelry on her. The hugeness of T2 jewelry at DYT could be really good fit for SD bodies (note that I have not looked at it).
I’d just love to see your perspective on Soft Dramatic True Summer. How does this combination of colors and lines and whatever else there is look to you?
It won’t match the Type 2 of Carol’s system. In each of those 4 types are way too many kinds of bodies.Â There is swirl, flow, and drape in Soft Dramatic but the scale is much bigger than what T2 says to me. This body is not mainstream and her presence isn’t safe.
I know this woman from my life. Â She is indeed a True Summer. She’s 5’9″, sleeps till noon, reads all day, is far more busty than hourglass. In fact, I have no idea what her body looks like below her bust. Couldn’t tell you if she’s curvy or not, no idea what her legs look like. I do know that she’s a knockout.
She cooks like Julia Child, drinks like a sailor, wears a splashy sarong skirts and big chunk diamonds in her ears to have her backyard bulldozed, and looks ridiculously like a plump and top-heavy Linda Evangelista. The sarong and diamond look is the only time I notice what she has on. She also favours mid-thigh tunic tops and straight Capris, which look pretty good as long as the print is a big, boozy Georgia O’Keefe vision.
Her right location is in a chaise longue beside a Vegas pool with a turban on her head, cigarette holder in hand, G&T on the go, watching the 18 year old pool boy at work. The picture absolutely needs up-there jewelry, exactly what Kibbe describes. Smooth, big, and $$$-looking. Andre, the masseur, is arriving later this afternoon.
These are casual clothes. It’s easy to fit this body in gowns and gigantic jewelry. What’s it look like at the parent-teacher interview?
Like colour, the whole point is to bring together the person and the clothing lines that bring out the absolute best in each other. Finding the style in any palette would be tough because it’s just so exaggerated. The women who would look great in it have no idea who they are, not unlike fuchsia blush. For the general population, the image seems meant for the stage, not the office. Get Noticed clothes are scary when the crowd all looks identical.
She has much less texture and more opulence than a Flamboyant Natural. She won’t wear wedges, the FN could. Same big frame, big hands. A movie star who comes into her own on the big screen, loses something on a TV, and looks almost ordinary on a smartphone. AÂ cocktail ring babe. Sunglasses and wide brim hats, earrings, necklace, rings, scarves. Drama, glamour. She can make the dainty, delicate, and simple disappear, not in the good way, like blue on Summer, which is so much part of them that it’s almost invisible, like their ultimate neutral, their perfect equal. Here, little stuff gets chewed up like it isn’t even there, the ultimate unequal.
Like all Summers, contrast outside her colour palette can disappear her. Stay inside your lightest to darkest range if possible, whoever you are.
The only way to get your clothes look like yours is to wear your own line. That’s when you look normal and fabulous, as opposed to normal. Your clothes look like ‘just clothes but wow clothes’, like Bright Winter blue sapphire satin looks like ‘just blue but wow blue’ only on that one type of natural colouring. These clothes are lusciously large scale. In this picture of Sophia Loren, it doesn’t seem as if she and her clothing bring out the best in each other. Nor this image. She’s Â not who we know her to be. The colours and lines next to her look as if she feels some way that she doesn’t at all. There’s no point telling the world that.
The True Summer colour analyzed palette is the opposite of exaggerated. I can see that it might be careful looking on this woman. Accessories and big shapes pull the whole thing in the right direction.
Discovered I could search ‘drape’ on Polyvore. That moved things along.
True Summer looks better in their greens and teals than their blues. Blue is too equal to their native wavelength. They’re like a blue aura inside a blue force field. Such a good fit that you can’t tease them apart. All their blue-greens are unbelievably enhancing. Like if you can find the right red lollipop red, it’s more incredible on True Spring than their yellow, maybe even more stunning than their nectarines just by the power of red.
For an Soft Dramatic, no casual outfit will ever be casual by other body types’ standards. The clothes look normal in a Vogue shoot, not a Food Court. This is not a Natural body. Turtlenecks, hoodies, shirts, the clothes much of the industry provides are not the ones that best flatter her. How to do casual? Would wear kitten heels when the men arrive to replace the front porch, but not high heels. Will not wear shoulder pads to the Farmer’s Market. Will wear flip-flops when hosting the Fun Day BBQ for the summer cottagers and their kids. Is going to wear jeans, fleece, and flats just because they feel good.
This article began from working with a Soft Summer who asked what the colour of her nude shoe would be.
I’m no more artistic or visionary or gifted with special colour acuity than you or anybody else. I’m just a guy who knows what I like to see and put those 12 Season palettes into 12 contexts. I don’t have a day of fashion education.Â I guess I’ve been amazed at how many could see it my way but part of me always wants to hold up her hands and say, “Wait a minute, who says I’m right?” Every time I show or say something, I hope everybody’s next thought is, “Yeah, fine, but give me a second. Do I agree with her?”
- The one with the star, either for Light or True Spring, would be nice on a strawberry blonde.
- For Bright Spring,Â Â the black would anchor them to the ground. The placement of it is elongated, as opposed to a crosswise bow or strap. Many are quite dark in appearance and would do well with a little black. Many others are lighter, more neutral, golden or beige overall and could wear their beige, quite like the shoe right under the words Light Spring in the row below.
- True Spring may be fair or darker than you’d expect, containing many golden greens, new coin gold, and peach-brown colours.
- The Light Spring…for them and the Light Summer, this is a fashion event that looks really good with their body and their colour-analyzed clothing.
- It’s all about the uninterrupted line. Peep toes are OK but keep the nail polish subtle.
- Few or no horizontal effects – cap toes, bows, stripes, ankle straps are only in if the shoe is fabulousness.
I’m nitpicky about perfection. For Winter, close enough is never good enough if they care about the subject at all. The idea of this article was to find that nude shoe for each type of natural colouring, or Season, or Tone, that does what fashion has taught us, which is to elongate the leg. As I got going with this article, I knew that I like to see a shell pinky beige shoe on Light Season women with light hair (Helen Mirren), just because it looks nice, not because her legs look any different. Besides the Light Spring and Summer, I’ve never thought flesh-coloured shoes looked so great, nor did it ever inspire any, “Why, what long legs you have!” sensations.
I donâ€™t believe most fashion rules. They don’t work as well as we’re led to believe. Like the idea of wearing one colour head to toe to look tall. You don’t. You might look great or like a short person in a mobster getup, but how tall you look is about the same as if you wore light or medium colour head to toe. Far as I can see, bisecting horizontal colour blocks do matter. Length of garments can make a difference, in that a shirt that ends below the rear end makes legs look shorter than one that ends at the hip bone – but the overall woman doesn’t look shorter. As David Kibbe said in a video recording of a session with a Gamine, “maybe you look taller if you’re standing in a room all by yourself”.Â Who’s ever seen a 5’2″ woman and thought, “Boy, I could have sworn you were 5’5″!!!!” Victoria Beckham looks good in darkness, but even in stilettos, she looks like a small, slim woman.
Colour and line are all about context. They only look a certain way depending on what’s beside them. Put a woman alone in a picture wearing a shoe of colour similar to her leg, angle the lens upwards a little, make sure the floor is the colour of the shoes, and maybe the leg looks longer. Out in the real world, pouf, gone. She looks like a normal woman with pale shoes or absent feet.
Another of my Star Trek analogies: you know the transporter beam? When the person’s molecules are still spinning around and they haven’t gelled and landed yet? That’s the feeling I get from light shoes on dark people, as if they haven’t quite arrived. It’s a “where’s the rest of you?” impression. Similar thing happens when dark people wear none or light lipstick. We see the hair, we see the eyes, but they have no mouth. It feels like the bottom half of their face is vanished or someone turned down the opacity, as if it’s not solid. You can actually create this magnificent effect by just Bright or True Winter in Summer colours. They have lots of eyes, they always do. The face drains, so the eyes seem even stronger by comparison. They say, “My eyes are too much.”, but the real deal is that their face isn’t enough. The lips fade into the skin, the jawline is hard to see, really, it’s like the bottom half of the face is gone.
- Mauve flesh tones are superb on Soft Summer.
- I think this image of Kate Middleton looks great. Very balanced.
- Stay inside your lightest to darkest range as much as you can. A too-light shoe can stick out like too-light highlights up at the other end.
- Thank you to D. who showed us two of the styles. You should see her buy a cocktail dress. Simply amazing what she finds out there.
Ask Your Kids
As a Winter, I tend to say no before I say yes. I’ve retrained myself to think, “Why no?” About the nude shoes, I asked my 18 and 19 year old daughters. They’re of an age to believe that the status quo is probably and usually wrong. They’re of a generation to reject dogma. They understand their own natural colouring (or Season, or Tone) and how it differs from others’. If you can do anything for your sons and daughters to give them identity and independence, never mind save them a fortune, have them know their colouring. Every person should know this about themselves by the time they’re 20. Their life will be different. I’ve analyzed 3 year olds. Their lives are different.
I asked them “Does wearing a nude shoe, in a colour similar to the skin, make you look like your legs are longer?”
It tookÂ #1 less than 3 seconds to say, “No, it makes you look like you have boxy clunky feet”.
- “Does it ever work? Say if the shoe is small with minimal platforms or stilettos or other weirdness that draws attention to the shoe?”
- “Maybe. I never think skin-coloured anything is anybody’s best choice.”
#2 said, equally instantly, “No. It looks like there’s something wrong with your feet or you have no feet.”
- “Does it ever work? What about those really neutral shoes JLo wears?”
- “Not that I can see. It doesn’t look like long legs or anything, if that’s what you’re after.”
- “How can you look like your legs are longer?”
- “By having long legs in the first place. ”
Let’s say Nude Shoe will mean the shoe you could wear with anything. The one that will be least obvious at the end of your leg. It will be neutrally coloured for your type of naturalÂ colouring. Lots of women appear to have the same skin colour. This nude shoe trick is like finding your foundation – which one will be hardest to see against the background of you?
-Â When you’re really close to the core colour, you don’t notice it on them. Like mulberry lips on Dark Winter, like blue anything on True Summer, like gold on Autumn. True Winter can disappear black so you can do things with black that would be more obvious on the other types of colouring. Autumn can disappear print, texture, and metallics that would be a distraction on someone else and would make you notice the shoe more because the person already appears to contain print, texture, and metallic. The shoe is just adding more of the same. That’s what the game is about. Adding more of what you already are. It looks calm, settled, belonging, and right.
-Â Pinky, peachy, and yellow-beige are Light Spring’s world. Soft Autumn doesn’t do beige, they’re too dark and muted. Beige looks wimpy unless it’s pretty dark. They have green-toned grays and many neutral browns.
- Dark Autumn is a lot. It has heat, darkness, strength, texture, metal, animal. They need a lot of shoe.
- Nude makeup is out of gas on Winters. I find flesh-toned shoes about the same.
- Here’s a Winter (Kim Kardashian) who owns some shoes. Look through the style gallery and decide for yourself which is the longest leg, the tallest woman, and the most holistic image. Look at the whole image, not just the feet. Another gallery of Kim’s shoes.
- Better to stay with their disappearing colour. Keep the lines plain, the detail small, and show lots of skin, like the width of the exposed skin in the True Winter pump, like the lace in the Bright Winter shoe. Since black disappears on True Winter, you can sneak in a crosswise strap.
- Bright Winter is decidedly lighter than the other Winters. They are also shiny. Shoes made of tin foil would blend right in.
- The snakeskin shoes for Dark Winter (which I sincerely hope are fake). They’re fabulous. Autumn’s texture and nod to nature, Winter’s slick and expensive.
- Victoria Beckham could be a Dark Winter. Here is that colouring in a light gray shoe. Look at the 4th image down, where she’s stepping down off a step. The colour above that is better, it looks more part of her.
-Â Bright Winter can disappear shine. It’s just amazing what they can suppress. Might even consider the word oppress. JK.Â I’ve seen them turn black-brown eyeliner into gray when you paint it on their hand. You can put them in gleaming royal blue satin and it’s just a blue blouse.