True Summer Polyvore
November 2, 2011 by Christine Scaman · 9 Comments
To fill out the Dress For Your Landscape: True Summer, we had a request for a Polyvore. You know I can never just show a picture. There has to be words. And then too many words keep happening.
True Summer is particular. There are no scratches or smudges on her glasses. She keeps special cloths and fluids at home and office and purse and car. And watch her clean them or take off her nail polish. Like she’s in her own private hell. If Winter wants control, True Summer wants precision.
She’s helpful and tailored but not excessive, like a flight attendant. At all times, gun to her head, she is well behaved and ready to negotiate. In one word, and I know I’ll take some heat, the word I hold in my head when I search is ladylike. There it is, the word we all love to hate. 50% of readers would swear I just said prissy.
Not prissy, prude, prim, proper, whatever. OK, maybe a little bit proper. Therefore she has personal restraint enough for all for us. Etiquette does make the world a better place and if everyone had more of it, oh, how good that would be. For this woman, a tub of Haagen-Daz really does have 4 servings.
This is a challenging clothing style to find in our Lady Gaga world. Ballet flats are too sweet. This woman isn’t that. She takes life pretty seriously, not as competition but as a force for good. She won’t have the bag in the shape of a frog and probably not a pink or yellow one either.
True Summer is least harmonized by menswear influences. This is a rounded body with many curved lines that glides when it walks. Boxiness, straight lines, rigid designs, they are not nearly as good as swirls. I think this is where the constant searching and feeling of unrest stems from that women have about shopping. The clothing industry has all these gaps it could fill instead of making more of the same. Women know what’s out there isn’t right and can’t quite put their finger on why.
I tried to think in terms of outfits so there are groups within groups here.
True Summer sets by christinems featuring strappy sandals
Colours are a little muted. White white jeans will positively glisten next to the rest of the colours. They appear aggressive on a part of our body where that can send the wrong message unless that’s what you’re trying to do. Jeans in the very colour and texture of chalk would be perfect. No heat, no shine. Part of what holds the whole picture together is that little bit of greyness that hovers over it. No greyness and the item won’t fit under the umbrella so it sticks out there, getting wet, which looks neither strong or attractive. Pretend you can’t see the orange purse.
Some darkness is necessary. This person is usually quite medium in darkness, but some seem quite dark. The odd one has white blond hair, quite an effect next to the navy blue eyes, but there the eyes hold the dark.
Green is underdone because it’s hard to find. There are several. The prototype is clover, blued and a very smidgen dusted. Still a lot of colour. You know that background feeling of a grey fluff round the outer edges of a clover leaf? That’s very much the essence of True Summer, that gentle blurring of the overall effect. The moon is like that, a very effective grey- white glow on this Season.
I won’t say too much. Ask if you wonder what I was thinking.
Wearing The True Autumn Landscape
October 28, 2011 by Christine Scaman · 36 Comments
In 12 Season personal colour analysis, there are 4 main Seasons, or True Seasons, named after the 4 natural seasons. True Autumn is the homeland for the most flattering colours of the person whose natural pigmentation is made of colours that are:
- absolutely warm; even the colours we think of as cool have been warmed by comparison to their appearance in the cooler Seasons; like True Summer, True Autumn is more saturated than people think. Most folks’ ideas of True Autumn and True Summer live in the Soft Autumn and Soft Summer palettes.
- muted, but not nearly as much as the Soft Autumn; yes, True Autumn’s salsa and curry are muted compared to True Spring’s fruit punch and citrus, but we don’t think of them as grey ; we do think of Soft Autumn’s cactus as greyed; True Aututmn’s entire palette viewed at once looks like a hot glow, well beyond rosy blush; to emanate that kind of heat, we are moving away from pink and into red
- medium to dark in value; most colours are medium, few are very light, and none darken all the way to black ; the overall look needs some darkness to give the feeling of richness and depth, too much lightness looking too powdery
This series of landscape articles (True Summer, Soft Autumn, True and Bright Winter , and Bright Spring have been posted) serves as an opportunity to see ourselves with objectivity. Unless we transfer colour and clothing decision outside of ourselves, objectivity is too far to far reach for most of us, certainly for me. We are far too invested in our complexities to have any idea how we look to others.
The world is full of odd psychology, a common one being to inadvertently reward ourselves, our kids, our pets, for the very behaviour we’d like to be rid of. We want to look like our friends or like celebrities, but what if we’re imitating them and not really loving how they look? Buy a magazine aimed at your demographic and mark the pages of the women you would love to look like. How many have complicated hair? sparkly eyeliner? sparkly purple eyeliner? frosty pale lips? Is their hair and makeup like yours?
It’s also interesting that in trying to look like our friends, we end up looking less like them and more like us. All those blonde highlights out there accentuate the differences between us rather than making us more similar, which only works in your favour if yellow in hair is flattering to your skin. If you put a room full of women in the same red dress and really looked at the women and not the dress, the differences between them, meaning who looks good in that red and who doesn’t, become easy to see. What looks good on our friends doesn’t help us know what enhances us.
Finding people of similar colouring to ours to try clothes, makeup, or hair on can be very useful if that person can be found but there’s such variation of appearance among members of the same Season that our counterparts are not always available. Or, the celebrities look like the average for the Season and we don’t. Still, some retain enough of themselves to have good real world comparison value.
Keri Russell could be a True Autumn.
So could Susan Sarandon. You can see that their overall colour effect feels toasty, medium on a darkness scale, and glowy. Their natural coppery heat just looks better surrounded by warm, muted, medium dark colour. Scan their Images and decide how dark their best hair is to flatter the face. It’s fairly dark. Many True Autumns wear their hair too light (Kathie Lee Gifford) and the glow be long gone. Red hair is by no means a necessity but these women are very seldom beautiful as blondes or in ash hair tones.
We belong to our planet home at such an organic, elemental level. We each hold wondrous beauty and the divine unknown within us. We each represent a painting of a scene that we know, love, and trust, but we can’t always see the resemblance with ourselves. Like music, colour is a language that tells us information about the world we live in. Like technology or medicine, the value of the language is so much broader when we can use it to live better, happier, freer, stronger, and more connected to the people that matter to us. Oh, and live cheaper, let’s not forget that.
What’s the world feel like for the very timely True Autumn Season? In Canada now, we are given these:
Melinda feels it this way, from this photo:
I love the traditional pictures of fall leaves and sun shining softly through a canopy of colors, but for some reason these pictures just stir up something else in me that I feel so connected to.The first set of pictures, the rocks and bronze river, reach into some deep emotions for me. Warmth, intensity, passion, strength, and solidarity all come to mind. Such a range of emotions that are rooted deep in my soul.
The pictures below speak to my surface, if that makes sense. The bright vibrant trees and the gentle softness of the sun echoes an almost tangible warmth, comfort, coziness, and welcome that you just want to walk into. The leaves add a crispness that just makes you feel like dancing. Joy lives there and you can feel it.
What they all have in common:
- warmth: well, yes, we know this, but replace the word with passionate heat for this article; if your mind says greyed before it says richly glowingly warm, hand the item over to Soft Autumn.
- darkness: it’s getting darker; daylight hours are shorter; in the overall effect of an outfit, there’s still enough light to read by.
- dryness: cooler air holds less water; the grass is browner, the harvest is dry enough to bring in ; not very shiny or reflective, no sparkles.
- dustiness: the Earth is busy and dry.
- productivity, we know there’s cold on the way and we need to get our house in order, but the sun can still warm our back and make colours and faces glow.
- a sense of depth, which you’ll recreate with layers, darkness levels, and patterns
- the overriding presence of brown in every colour we see; a petunia would stick out like orange pop at a coffee shop ; Autumn is Spring, oxidized, the wine and the nectar, not the fresh-squeezed juice.
- there are no cool blued colours; the reds are not direct red, but indirectly lit as rust, muted red-orange, and browned reds; even the light seems indirect, as though it’s coming from lower down in the sky, which of course, it is.
- texture: Melinda loves several photos that are stone based and I see True Autumn that way too; the glint of metal is not here yet, not till Dark Autumn arrives, which is still not very flashy, but it’s ramping up, and ramping up more in the Dark Winter, the least flashy of the Winters, and then more as it gets colder; True Autumn can work in small metallic elements well because they look metallic but too much is too hard on a person who really isn’t.
True Autumn Clothes
- never met one who likes clingy fabric, possibly related to age
- that blue cardi in the center may be too muted, may be Soft Autumn, not warm enough for True Autumn, but I like it and I could adapt it here because of the darkness; shopping ain’t perfect; you might love an item that’s close enough; there are swatches that can look pretty similar between unrelated palettes; at the mall, make the very best match you can and know that the rest of the outfit will situate the colour into your Season; makeup may be a bit less forgiving because it’s painted right on the face
- if Winter’s fabric extreme is the scuba suit, True Autumn’s is burlap, the ultimately brown colour, the utilitarian feel
- the camel is really oranged; I like the way a turtleneck frames the face and hair and even better if it’s a great colour that distinguishes it
- coloured and textured and opaque tights should be worn, they’re good
- not quite cute enough to be cozy to me, though many people do get that feeling from these colours. I find them too hot to be that benign, but the colour heat is still comfortable, not reckless. You can touch it without being burned. In fact you can hold it as long as you want.
- about white, remember how it didn’t really fit well into Soft Autumn’s landscape? , it will add yet another 5 years here
- about black, it’s too cold to harmonize with anything, and many colours don’t get that close to black, so I hope that skirt to the left of the amber beads is chocolate; the overall darkness effect should leave enough light to read by; having said that, concessions will make shopping more fun ; if you found a perfect faux leopard short jacket and it happened to have black buttons that were not enormous and the overall effect was of rich caramel, gold, and chocolate brown, and if your hair were medium dark or more, that coat might be absolutely lovely
- red is by nature a warm colour and I love a red coat, it gets noticed and manifests the very strong lifeforce of these persons; seemingly low key, they have some of the strongest moorings I know, levelheaded and reliable as the stone we saw earlier, absolutely nothing darting, fleeting, sporadic, or flighty ; I love neutrals (black ,white, grays, beiges and greiges in the U.K. 
) a lot, but on both True Warm Seasons, I absolutely love lots of colour, personifying people that are so alive, busy and loving their life, not fussing, just getting on with it
- not the military style that suits Dark Autumn better, who is a much more straightened out, direct, vertical person, approaching Winter’s stationary vertical line (Bright Winter’s line will shift to the diagonal, Spring’s is becoming horizontal, explaining why horizontal stripes look so good to me on a Spring, and in my head, Summer’s line is horizontal wavy, like a ruffle) ; this character isn’t so “with intention” as the Dark blends, who lock onto a target; that rigidity is muted in True Autumn, as the colours are, so you have a straightforward person no doubt, but not shot out of a cannon
- what’s the theme song? It’s a steady beat, not as threatening as the Jaws movie theme, a Winter gets that, more defined contrasts and all, Dark Winter, I’m guessing. I’m looking for a steady drum, maybe Adele Rolling In The Deep? Close, but not hot enough…The Circle Of Life, maybe… heat makes molecules agitate and move faster. Thinking. Not Spring’s reggae. Hotter, darker, tribal, smoked light, uncontrolled heat (this is the part where the True Autumns say “Who me?”) Hotter than Soft Autumn’s Hot August Night. This is pretty hot,
Dhoom Again
Once Dark Autumn arrives, Winter will put the cold clamps on and there will be heat but it won’t be on such display.
- what do they drive? A Dodge Ram 1500? Too truck. Classier? Cadillac Escalade? Too flaunty. A Navigator? Better. A Jeep Wrangler Rubicon? Feels about right. Dark Autumn drives a Jag XJ. Dark Winter drives an Audi A6 Avant after they trade in their 2010 Nissan Maxima, having found an Audi that comes in Batmobile black. True Winter? Black Porsche. Bright Winter? Lamborghini with the doors that flip up. Bright Spring? A Merc E Class convertible in a smart and snappy colour. Back to our topic.
- I like the bow in the jacket at the mid-top, it’s not too ribbony, it’s solid and square in a very browned neutral; strength and femininity together are curiously magnetic, I feel
- no real pinks present; mix pink with pumpkin puree and that’s True Autumn pink, looking much better in clothes than makeup where browned colours are better unless the pink is very golden
- no pinkish reds; if you take tan leather and dye it red, that’s the cool red, maybe like a red Frye boot ; that’s the red lipstick too, like paprika, not as dark as chili powder ; I like a browner day lipstick – if Soft Autumn’s was the rosy cinnamon stick floating in the warming pot of apple cider, then True Autumn is the cider itself, and Dark Autumn is the clove
- Spring thought about peach, blossom, and candy; Autumn thinks of the jars of preserves, not the raw salad (Spring); Autumn thinks about strong, heavy, straighter now that Summer has gone, mead and liqueur, Bailey’s, Kahlua, a duller finish but lots of touch information (fur, flannel, corduroy, tweed, leather), nectar (colour is getting thicker, more opacity), the hive, the honeycomb (repetition, industry, work = functional (Spring=fun, Winter=flash, Summer=feminine); the bumblebees of the world, going about their business, these are the builders; think of blocks, bricks, order, structure, steps, strength, progress
- colours start at medium, not light; only the beiges get very light and they’re still browned, like vanilla whipped into cream, like brown buff, light wheat, light brown peach; cottage cheese is too light and mozzarella too yellow
- I find it harder to know if I have lots of golden heat when I assess a possible True Autumn colour vs. Spring, where I can always tell max yellow heat. What I look for is a bronzed brown glowing feeling, like hot copper overlay, which how the person’s skin tone looks. I want to sense abundant sultry heat, not greyness, not lukewarm, not summery, though still very hospitable, nothing hostile.
- very little blue, just one bronzed colour; the blues are quite greened because the yellow contribution harmonizes better in warm coloured outfits while cool blues don’t; I love purple with the warm hair tones, it’s unexpected and not very red because Winter isn’t here yet
- there are warmer and cooler greens; the cooler greens really are green, not teal or avocado, and a little dull, like Green Bay Packers green
- as more distance between colours on the wheel are fabulous when combined, we get a very rich cornucopia effect; profusion was Spring’s word, abundance is Autumn’s
- animal prints in small surface area supports the lifeforce without looking swallowed; Dark Autumn can balance a whole item better and same with metallics as Winter’s hardware orientation arrives; this woman isn’t that decorative and feels overdone in glitz, she’s got 1000 cookies to bake for the Cookie Exchange, is hauling the boat out of the water by herself, wants to fit a bike ride in this day, has a pie crust to roll out, and would love to hear about how you’re doing once she’s finished what she set out to do; she sure looks gorgeous with a metallic thread in a scarf, a copper glint to her lipstick, a gold or brass buckle on a belt or purse, or stripe in a shirt
- using matte and dull finishes makes the odds of getting the colour right higher automatically by creating some muting, as some of the shoes below; the green heeled sandal at the top of the Polyvore below may be too emerald but in sueded fabric, it could look like dull teal and fit into this painting
Here are the shoes, the belt, the bag, the HAIR!! (See also True Autumn’s Best Hair Colour). Warm, rich, lustrous, and brown. There is nothing faded about this palette.
She wears a purposeful watch, maybe a menswear style,
to go with solid functional bag, square like a briefcase or at least not completely slouchy,
shoes you can live a real life in,
and a necklace with weight.
Supremely business stylish, this lady is up-to-the-minute, resourceful, and lives in the present. Autumn is grown-up, self-sufficient, and mature. Her male counterpart is Indiana Jones, though they dress him as a Soft. U2′s Bono sans glasses seems True Autumnish.
Think about the quiet light and stony strength of the pyramids, not the blinding jackpot glare of El Dorado. Marketers have a much better handle on what young women want and how to sell it to them. If True Autumn has trouble finding clothes, it’s because the styles in shops are too young and her colours are often limited to brown and green. Imagination belongs everywhere.
The pieces have some weight and bulk, not Spring’s hearts and lucky charms, not Summer’s lacy water, or Winter’s hardest-substance-on-Earth jewels. To add interest, touches could be Egyptian, Bollywood, hot stone-lava, old coins, wood, jade, brass, enamel and ceramic which remind of firing and heat, and natural semi-precious stone. Even stones should be noticeably browned down. Leather looks great, strong without being hard, in Southern Comfort colours.
She can accessorize endlessly, with items from many categories at once. Scarves were made for this woman because they look textured and warm and give the impression of depth. What she does best isn’t really to accessorize, like Bright Winter who can wear jewelry on her neck, ears, and wrists, all at once. True Autumn layers.
It’s easy enough not to stumble into Dark Autumn, just keep black out. Colour can go pretty dark but you should be able to see that it’s not black in all but the dimmest lighting, and this applies equally to shoes and eyeliner.
Reptile can work if it’s quiet, not too cold and slithery. True Autumn is more plain-spoken. Dark and oily don’t belong in this brew, they look like a black panther marching up the forest path in the photo above. Panthers don’t march, they prowl. She might do crocodile, though Dark Autumn better. Snakeskin is best on Winter, but if the colour is very gentle, even a Soft Autumn can look great. The texture offering is good, it just needs adapting because of the message the wrong version can send.
Periwinkle is supposed to be an Autumn classic but it doesn’t send thrills through me. I do love the Soft Autumn in their version.
Going back through this to pick out random keywords that could define this colouring: abundant, deep as in plush, deep as in layers, medium-dark, texture, strong but not maximally hard, work, build, structure, browned, coppery, golden, matte, small to medium metallic or fur or animal element, functional, opaque, molten, rich hot glow.
Spring may be excited, but more than any other, oooee, baby, True Autumn is exciting.
True and Bright Winter Landscapes
October 1, 2011 by Christine Scaman · 23 Comments
Imagine leaving the house at 6 am and walking along a street where you live on a freezing cold morning. What kind of things might you notice?
1. Tightness. Your skin, the ground beneath your feet, your emotional range, and every texture around you is compacted. As that happens, things becomes smoother, shinier, stiffer, harder. Fabric is smooth, not rough. It can go from uniformly smooth for True Winter to so slick it looks wet for Bright Winter, like patent leather, shimmer, a wet seal. Dark Winter was crocodile (textured danger) and its best black was matte. True Winter is shark (monotone danger) and its best black, its best everything, is featureless, constant, and even. Seals are the least dangerous, the most cute, and the most quirky. Makes sense, Spring is on its way.
In 12 Tone seasonal colour analysis, True Winter represents the natural colouring of people whose inborn pigments are
- maximally cool, without the slightest heat from yellow, gold, orange, beige
- quite dark to black
- icy light to white
- highly saturated pure colour, not foggy or dusty, not even a speck
The colours that pre-exist in Bright Winter‘s skin are similar to True Winter and influenced by the mixing in of a small amount of Spring’s yellower, lighter pigments. They are
- not max cool; the earliest sunbeams of weak pale yellow shine on them, so it’s a Neutral Season, with a warm and a cool version of most colours
- quite dark to black, but that sun lightens them a bit
- icy light to white
- highEST saturated pure colour, powerfully pure pigment
2. Darkness. When you started your walk, light was absent. For the most part, you couldn’t see colour at all so the shape of things became really important, like the shack on the frozen lake. This is True Winter. Form matters. This person looks good in solid blocks of single powerful colour set off by neutrals, especially black and white.
To see a colour, it had to be brilliantly strong. Often, it appeared alone, like the last leaf on a tree, the single red berry on the shrub, the blue deck chair left out after the snow fell. Use one colour whose importance is amplified by its aloneness and empty surrounding. This colour doesn’t go ping, it’s not a series of taps, it’s one solid punch to the gut. The wind is knocked out of you. You’re pushed back hard, you have to react strongly, the colour’s violence gives you no other choice.
3. The night is the constant in a world that keeps changing. Regardless of species or century, we are forced to pause and submit to life’s right to balance light by letting darkness pour through and around it. Like state and ceremony, True Winter is timeless which is why trend looks so odd on True Winter, even the young ones. These are old soul types, for whom mermaid hair, beach hair, and mapped hair were not intended because they are defined by a specific moment in time. True Winter doesn’t heed time or any other man-made thing. Mind, the shape of the haircut is very important.
4. Dark colours recede. They seem out of reach. You behold but you don’t come close, like the Ave Maria. True Winter is the single star, glory only known from afar. Like Cher, she was probably a grownup even as a kid. I could never see Elizabeth Taylor as a Bright, one, because I could never see any heat, but secondly because she was so classic, so untouchable, old world glamour, not at all cute.
Bright Winter is the star shower, or maybe the shooting star, still Winter’s oblivious indifference, still unto itself alone, but a friendlier feeling. More approachable, maybe it cares about you just a little. The carefreedom of sprinkles is still far, far away in the Spring group, but there’s a distinct lightness of being coming in. Let sweetness creep into clothing but with a lot of control. That’s what Winter likes best, even over power.
Mod can be more of a Peace&Love Spring esthetic, but Winter can fake it really well if their character takes them there because colourblocking looks so good. It reminds of the glamour of old James Bond movie stars. Bright Winter can be incredibly cool, the white tuxedo jacket, the black pant with the sequin stripe down the seam, the choker with the red rose pinned to it. These are people who hold a lot of red and a little of Spring’s magic and movement. Below, the BW undertone (as I see it) and why the palest golden gloss in lipstick looks so good.
5. The sun is rising as you make your way home. Your lashes are still frozen together and every attribute of coldness still applies but you feel less guarded, more expectant. Stop reading and think about what the faintest sunrise feels like compared to the complete darkness of night. Have you ever watched the sun come over the horizon or anticipated seeing it as the horizon began to lighten? Every living thing turns towards that light and feels the surge of hope down to their bones. Energy skyrockets to fuel the day. The colours around you take on that faint yellowness. The styles you wear express that optimism. This is Bright Winter.
6. With more light, you see more detail. Much of this world is based on frozen water and we become aware of the delicacy of ice. Frost looks like lace. The sun glinting off the snow blanket looks like glitter on fabric. Bright Winter is that, but the hardness is still here because we feel that words like shatter are appropriate.
True Winter’s ice is a solid block, very little detail. No taste, no smell, no motion, forbidding, uncomfortable, uncompromising. Minimally interactive, unforgiving, it just is, always has been, always will be.
5. You don’t go to the gala every day, or at least I don’t. But both these groups should dress like they might be. Adding a shot of luxe only looks better. It’s hard to find this apparel on a budget, hard to find stuff you can throw into the washing machine, hard to find non-slouchy clothes in these powerful colours. So much is made to blend with the crowd, using textiles that don’t hold a dye. And then to find a shoe with some reason for being besides shredding sheets, explaining the delay for this post.
The Bright Spring and True Winter are the only Seasons where I will agree that shopping is a challenge, both makeup and clothes, unless you have significant disposable income and time, or you go to the opera every day of your life, or are willing to wear horizontal stripes till friends ask you to stop. What they have to suffer through to come up with one outfit… no wonder they all wear black or revert to Summer and Autumn. Dark and saturated clothes are made so flamboyant, like the designer couldn’t get stopped with the details and the stuff, the ruching on every seam, the bells and whistles, like life is a Christmas party, glitter required. This obsession interrupts True Winter’s unbroken, inviolate quiet.
6. Learn your purples and wear them. The Winter Season is based on red and darkened with a lot of blue, a lot. The result is a huge purple group. True is bluer because it’s darker, so more royal purple, blue purple, red purple, pink purple, and cold fuchsia. BW is a lighter Season with there’s less blue to darken it, so less blue purples, but much more red, red purple, and pink purple, sugarplums and candy canes. True Winter left, Bright Winter right.
7. Tailoring. Cozy on Autumn looks like schlumpy on Winter. It’s fitted and it’s perfect, period. Winter doesn’t compromise. This is for whom all those black, tuxedo, and dark pinstripe suits were made. The transformation of Anne Hathaway’s character in the movie The Devil Wears Prada is perfect illustration of True Winter’s potential and how I see that woman at her absolute best. This trailer shows the before. She’s everywoman. She is wearing jewelry, lipstick, clothing, but she might as well not be. The woman at the end is a unique entity who has heard the beat of her own drum.
Always with the high contrast, the shirt is white or icy. One can never overdo contrast on Winters. Big, big, big distance between the lightness of the light block and the darkness of the dark block. Not every colour is at the dark or light extreme, of course. That’s not the most important thing. For True Winter, the crucial thing is to not see one degree of heat.
8. The superlative True Winter look remains black and white in a quiet, symmetric layout. Add one colour and consider that the lipstick is enough. Know when to stop.
9. More makes these two Seasons the same than makes them different. All Winter is very formal, but True the most. Leave raw edges to Autumn who does that better. There is no boppy feeling, no schoolboy/girl effects, no Peter Pan stuff, goodness mercy, Wonderland is Spring’s eternal youth playground. True Winter is very grownup, no tiny pockets sewn here and there, no cutesy stuff, these bodies don’t move that way, nothing loose and falling off. What would the Ruler Of The Kingdom would show up for work in, even with the ruby silk-lined cape? Do I even dare say the word Dracula?
10. True Winter faces don’t move much when they talk, no big eyes and big expressions. Jewelry and hair should be that way too. Keep your hair still, or at least don’t touch it all the time. It may look graceful and ladylike but that’s not your deal. It detracts from your power. True Winter is unspoiled, almost sacrosanct. Surfaces on the jewelry are smoother, though the facet of a precious stone isn’t out of place, like the face of the iceberg. The scale is unbelievably big. Much of the jewelry could go to both Seasons, but for True, I looked for glacial coldness and hardness first. Or do I have it backwards? Is this fire so hot it burns white? True Winter left, Bright Winter right.
11. Hold on to the most important thing for your colouring to look its best. Bright Winter’s is purity of colour, colour taken its most extreme possible level, blinding colour. The blues are bluer than even True Winter’s. Pure white pants are too blingy for anyone but the Bright Winter, and every other item should be dark.
12. Bright Winter also has Spring’s youth and irregularity. Patterns are more random, colour shots are added more spontaneously, though in small areas because Winter’s muscle is still strong. One line of purple eyeliner is plenty.
Spring is younger than Winter. Where Winter was never a child, Spring is always a child, the magnificent paradox of the Bright Winter. Youth brings in the modern. True Winter is classic glamour, Bright is modern glamour and textile but still formal and way more serious than frolic. Bright Winter’s jewelry is not crystalline or bead, it’s still sharp enough to hurt you, we draw points on stars for a reason. That bejeweled snake only looks pretty.
13. Spring brings in more fun. The dazzle, the glitz, the ruffle. True Winter is the crowning ceremony, Bright is the party after. Bows and bells can work and should be all-out fabulous, not prim, sweet, small, fussy, or anything else Winter isn’t. The Stars and Stripes is the magnitude we’re after.
True and Bright Winter evening by christinems featuring jay godfrey dress
14. If Dark Winter is the Russian empress, then Bright is the Manchurian empress. Asian effects look good on many, especially with those with that eye shape and colour. Chinese Dragon colours.
Those with transparent bottle green and turquoise eyes will work other effects. In a discussion on facebook about how Winter faces look good when all the features are very distinct on the face to respect the enhancing power of contrast on this colouring, we thought that bold lips with lighter eyes is another way to introduce that contrast. Bold lips could mean dark, to work the light-dark contrast. It could also just mean vivid and bright, the Bright Seasons being the natural home of the colour pop.
Note that we visit here because we all agree that it is more beautiful and more relaxed for everybody if your work with yourself rather than against. If you have pale brows, be grateful for the gentleness and flexibility this gives your overall look. If you feel crazy in scarlet lips, get to know Dior Addict or the many other sheerer lines of lip colour. Karla Sugar comes through with one of the most accurate photographic representations of Addict lipsticks, or any makeup, that I know, here. You might try Perfecto and Fashion for True, New Look and Rose Shocking for Bright. Wish there were more violet purples, please do share any with us that you love.t
For those new here and hoping for more on seasonal cosmetic colours, you may be interested in the recent post How Winters Intensify Eye Colour.
15. Mechanical stuff looks good on all Winters, silver better. Zippers, snaps, jewelry. Really, nobody does this as well. It’s too hard and cold for the Lights, Softs, Warms. Consider that the Darks and Trues wear orderly items better, like zippers. Bright has more hip, more flash, they’ll wear aviator glasses, heavy silver wire, grey to black lenses, an extra wire across the bridge for weight, and a black bar.
16. Last words : all black outfits = shooting blanks.
The Consistent Bright Spring Landscape
September 16, 2011 by Christine Scaman · 23 Comments
Rarely do the people whose natural colouring fits into this Season realize it. When Julie Andrews played Mary Poppins, she portrayed the average of this appearance and character to perfection. Her hair was dark but the overall effect was of light and clarity. Even her speech and manner were clipped and brisk. She was elegant and groomed and made riding the carousel in a sidewalk chalk picture normal and natural, elegance and magic at once. In Mary’s world, imagination and reality were the same and make-believe didn’t exist.
Image Property of Disney Film Studios
The word Season describes your natural colouring. In the colour world, there are 12. A personal colour analysis tells you which is yours. Why use the word Season, it sounds so dated? Because you are a child of a planet whose landscapes change as it circles (actually, ellipses)the sun on an axis, and we call those changing scenes seasons. The pigments of your skin fit into certain of those landscapes without beginning or end. There is no me, there is no you, there is no line that separates us from our world. I didn’t make that up or believe it from a yoga video. They’re called mirror neurons and they’re quite real. For honouring and celebrating the amazing coolness of being here, Season is a great word.
Your pigmentation causes the same frequency and wavelength of light waves to be reflected from your body (because that’s what colour is) as those reflected from your seasonal landscape. Nature’s wizardry doesn’t end there. The waves that move in that frequency and wavelength can be absorbed by the retina of another being and create electrical energy that becomes biomolecular energy. This generates an image in the brain tissue of that other. Were that other’s eyes closed and you could stimulate those eye neurons in that same way, you’d generate the same image in their brain.
Season is not about how skin looks, it’s about how it reacts. It needs to be given something to react to, like drapes or makeup or clothes. Otherwise, I don’t have a clue. You could argue that human pigmentation can’t possibly be narrowed down to 12 groups. Sure enough, you could have 20 or 30, but at some point, a very powerful way of improving your closet and your bank account would be too weak to work. There would be too many similarities among them to make each unique. The fact is, an eye isn’t able to tell that many similar colours apart.
The pigments that make up a Bright Spring person look a lot like the True Spring colours, meaning they’re clear and pure, warmed by yellow, and fairly light. When those colours get mixed with a bit of Winter’s, they become even more clear, but less warm and less light. With input from 2 True Seasons, Bright Spring is called a Neutral Season. They have warmer and cooler versions of each colour in their skin, hair, and eyes, and so in their colour palette.
Though the Spring presence is biggest, Winter always deals a strong hand. Often, these people resemble Winters, have been told they’re Winters, and dress like Winters. Once their hair turns white, they move over to Summer’s wardrobe and would look better if they’d stuck with Winter.
Landscapes
With the great distance between the parent Seasons of Winter and Spring, the landscapes are as variable as the individuals. The colours speak to me as lush and wild, so the landscape the same, like a jungle. The overwhelming collective life force of Spring and the violence of Winter co-exist. Winter places a cool veneer on the surface but the invisible reality is of life energy gathering force to sustain the frenzy of freedom and bloom that is coming in True Spring. Tension is building, for when this spring uncoils, True Spring will very truly have sprung.
These people have a thousand variations. My picture is pretty hot, or at least building up a lot of charge. AC pictures the melting snow running among the newest flowers. In the comment dated August 23 following The Brown-Eyed Spring article, which is also about Bright Spring, she said
One of the pictures that I have of Bright spring in my mind is of a landscape with frost and the first yellow and purple spring flowers peeping through the snow, the sound of water running under the clear ice, the crisp clear wind, the feeling that it may all freeze over again, but also the knowing that eventually it will be spring. Life will prevail.
She is in fine tune with her colours because she is on the cool side of her Season, so it’s apt that her inner landscape be cooler. Most interesting that the picture she resonates with coincides exactly with her position among the Seasons.You can follow a link to her very beautiful face in the comment mentioned above. Perhaps, her colour story looks like this.
The Persona
Tinsel.
This person sparkles. They have wit, conversation, joy, and humour. Winter gives them formality, organization, and some seriousness with the darkness in their appearance, but it’s not heavy-handed. Spring’s sunshine relaxes them, still with enough cool to give them quickness of movement.
Playful, cold, and clean, it’s all fun and games but there are many reasons for not wanting to get in this water. Winter=risk. A Winter element brings an edge, something that isn’t too comfortable. Winter will never make everything too easy for anybody. Like neon, we brace for this colour. In the beginning, you need to roll the dice and have a little faith that you look years younger. Don’t look at the drapes, look at the face when you’re choosing a Season.
These persons look more delicate than they are, like the finest icicles and waterfalls. This is not daintiness, frills, or fragility. Rather, think of the morning after a freezing rainstorm. The branches are coated with a thin layer of ice, looking like frozen feathers. The world looks more tough than soft, but we feel no threat. The sun is getting warmer, we can hear the music of melting ice, and we know the tough part is temporary, almost pretend. In scenery that seems so tight and yet is so easy to snap lies a contradiction that feels excitable and exciting, almost high-strung, to know everything could change in an instant with the right touch.
Light bounces everywhere. We know the thaw is imminent. Just a little more sun, a little more time, already we anticipate the gladness of Winter’s passage, and might even miss its majestic and solitary beauty just a little. While still quiet and cold, the colour information tells you this isn’t November.
This is a charming and very social person. Spring’s easy smile greets you, more friendly than you really expected. Spring’s love of dialogue appears, less reserved and more joking than you really expected. You’re carried along by an optimistic and open personality, but one who never fully lets themselves go. Winter still has a hand on the wheel and decorum will matter. It crosses your mind to wonder why this dark landscape is so sunny. How can it feel so right to have the sun out at night?
The Clothes
Since who we are not is 90% of the inventory of any store, 97% in Bright Spring’s case, let’s get a sense of what that looks like: earthy, heathery, dusty, misty, hazy, dilute, creamy, undefined, slouchy, rough, rugged, chunky, cozy, faded, subdued, faint.
The person is: spirited, vivacious, happy, charming. They’re the can of ice cold 7Up. Bright-eyed, bushy-tailed, ready for action, curious, and interested in everything. The body carriage is upright and perky, movements are quick and snappy, and none of this goes with the adjectives in the preceding paragraph.
What would it feel like to be standing by those crocuses above or in the jungle at sunrise with your eyes closed? The air is clean and brisk. It’s soft and sharp at once. You smell wet ground and new life. You’d prefer to keep one eye open, having no sense of being snug or sheltered, but it’s still ok. You’re pretty sure nothing’s coming to get you. Birth always brings so much hope and promise that this feels more like a party. Life is so vital right now that it feels a bit unsteady. When you open your eyes, you expect that it will look different than moments ago. How might you do that with apparel?
Bright Spring is :
- funny, quirky, unique, unexpected, bold, bright, artistic, varied >> a deep and pure blue-purple shirt with silver writing, whirls, or sparks.
- unconventional >> if you do floral, make the flowers blue or green or extreme purple and turquoise (black flowers are a harder take on life, leave them to Winter). If you do tweed, make it pink (tweed being Autumn’s texture, but everyone needs warm clothes; think of a one-of-a-kind Chanel suit).
Bright Spring 1 by christinems featuring leather bags
- the problem with plaid is the same as with paisley, it is widely recognized as a workday fabric. It says practical (Autumn), not playful (Spring). The prominent squares say functional (A), not fun (S). Flannel is another less-than-perfect fit. By its texture, it dulls colour and says “grounded” >> Bright Spring might feel useful, sensible, and pragmatic, but others see decorative to ornamental. Crystal is not down-to-earth. The Zen moment is when everything you add to you keeps your compass pointing the same way. Compliments become holistic, about the whole you, because no element sticks out, pointing away from your True North. Pick shiny over muffled in fabric.
- Winter looks right when they’re overdressed for the occasion compared to everyone else. BSp carries some of that, though they wear informality better >> high end workout clothes are great. Jeans are often (not always) too rough. This person shines. They’d look good in a dress made of tin foil. It’s light, delicate, shiny, and hard till you touch it. Softening effects, like scalloped edges, are less good. Youthful looks work on Bright Spring with care, keeping enough formality to balance the Winter that looks bigger than it is. Polka dots to satisfy Winter’s classic style could be great in a formal and still symmetric design, or it becomes too young.
- Spring is young >> modern textile is better. It takes up more dye, not dulling fabric. The same colour is more muted in wool than Lululemmon knit.
- I want to direct you to a comment AC added, dated Sept 11, is this woman getting a handle on her colouring, I ask you??, after How Winters Intensify Eye Colour. She has realized that her colouring is assembled like a triadic colour scheme, meaning 3 colours equidistant on the colour wheel. Of course it is, the brilliant woman! Triadic colour schemes are brilliant on Springs. Anything based on a triangle is, but take care. Bright Spring isn’t that zingy. That scheme is very invigorating at any darkness level. This natural colouring is more settled. Use the 3 colours but keep one element smaller in proportion.
- The palette shines light outward, while Winter palettes always absorb more than they reflect. As light gets hotter and we approach True Spring, the sun will heat up even more. Below, you see Bright Winter on the left, Bright Spring on the right.
- anything too crayon/child’s drawing/cheery/playful is the extreme to avoid. Winter is very grownup, formal, majestic, regal, like kings and queens >> find the balance that still says elegance and excellent taste. You can wear a lot of colour well, but use those grays, small areas of B&W, and some darker colours that feel more serious.
- colours that are too soft, too pastel, too grayed – from a distance, those elements would all flow together, which is Summer’s watercolour look. Bright Spring’s facial features are very distinct from one another. Outfits look better when they are too, with adjustments for your own personal appearance >>bold elements and intense colour are better. Following The Brown-Eyed Spring article linked above, there is some great discussion for those interested in the use contrast, with links to Imogen Lamport’s excellent explanations (If you don’t know her blog, you should. I find her better than anyone at explaining fashion concepts and their practical, real world, real body, real budget application). I’m sorry, I’m not very helpful, my brain locks up, but grateful that Fil, Imogen, and others can help.
- most of you easily have the darkness to wear black. When it’s solid, it looks too heavy and dark >> when it’s lightened up, it looks more delicate and crystalline, and if ever a word described you, that would be it. This Pointelle Cashmere Cardigan is great. Every Spring should take advantage of transparency, in clothes, makeup, jewelry, hair laminates, wherever. Wear a bright shell underneath, not black or white or neutral, all of which are too serious and not invigorating enough. As much as crystalline is real and right on you, the other big word for me is glaze. So thin it could crack, transparent sugar.
Bright Spring’s Makeup
Winter’s red influence is far-reaching. Logic might tell you that this person will wear their warmer bright melon well in blush and lipstick because the Spring element is dominant in their colouring. To my eye, the pinks look better. They can be warmer and cooler but they feel more right than orange variations.
Every Season has their extremes, True Spring’s tambourine jingling hippie, Soft Autumn’s Earth Mother, Bright Spring’s harlequin, bells on the hat and all. The makeup takes some courage here, at least the lip colour. Start with sheer since transparency works. Hair can be very dark but the skin usually is light and bright and needs that in makeup. Lauder is one of my favorites for clear colour in lip products. Wild Rose, Lush Rose, Rich and Rosy, gloss in Fresh Berry and Wild Coral.
Mixing MAC Dollymix and Fleur Power is good. Shiseido RD 401 is a nice blush. Smashbox Radiance is too.
Eyeshadow is harder than anything to find, especially if you prefer matte textures or have mature skin and wear them better. Nothing here you’d call brown. The greys in the beads in the choker and in the diamond shaped earrings below are examples of good colours. The colour is mostly grey and neither earthy (which is usually an orange grey or brown, like a saddle, or a green grey or brown, like army), nor Winter’s hard, dark, cold knife grey.
Examples? Help me out here if you know of any. Become the artist and mix your pigments. Use Clarins Vanilla Beige or MAC Chamomile under the brow, and then again to lighten and yellow MAC Print a little, turn it into that cleanest yellowed taupe. MAC Mystery was suggested, a really good clean brown. Make your life easy, and mine so I don’t have to scour the makeup counters in search of something hard to find on a good day, and buy Mediatrix, Conversationalist, and Upbeat from eleablake. I’d have to buy Daisies and Diamonds too, to make colours I already own right and to bring out the yellow in these eyes. (and check out Dishy blush while you’re there).
Bright Spring Accessories
Do not have a brown or black purse. Connected to a person so sparkly, it looks like luggage. Ditto the generic brown or black shoe, suitcases on feet. Black is fine if it’s not chunky and usual.
Choose patent leather over suede.
Wear fun and colourful exercise type shoes (and clothes).
Wear coloured coats and shoes, ballet flats in fun patterns, sparkly accents, gold or silver threads woven into scarves.
One part of shopping is crazyeasy for Brights : jewelry. Wear lots of it. It looks good. You sparkle and so does it. Not matched? No problem. From Harry Winston to costume jewelry. Fancy, cheap, pretty, silly, all fine if it reminds you of the thinnest layer of crackling glass.
Look for delicate, not heavy and complicated, not 10 interwoven strands of pearls and chains. I looked for purity of colour, for colour a person would notice within 2 seconds of shaking your hand, for movement, jingle, like bells on a velvet rope, like crystals suspended in mid-air. When I think of Winter, I keep coming back to dry. Spring, I get sugary, so I looked for a little sweetness in the frost.
I like hearts. Above, they’re little twinkles. Bright Winter is big glitter, harder words for a colder Season. This is frost, not ice. Swarovski is all you really need.
Learning and becoming your Season is like hearing a language you grew up with. I had a Russian grandmother. Understood it fine till I was 10 and we moved from Montreal. Now, I get the odd word, but there’s still roots in that soil. At first, it will feel very foreign, very “I have no idea what this colour language is saying to me.” Look inward for truth and you’d admit it plucked a string. Something felt a ping. From there, you keep moving towards it. Because you already are it, you’ll move fast. You’ll find a place waiting for you that will enfold you, while another person would always stay the square peg. You can choose to stand still, but life is much more fun if you keep moving towards the heat.
Soft Autumn Landscapes in Clothes and Makeup Plus Blue
September 2, 2011 by Christine Scaman · 40 Comments
For those here for the first time, in 12 Seasons personal colour analysis, Soft Autumn is the type of natural colouring or Season that is mostly governed by Autumn’s personal colour palette, with a small but important influence from Summer.
In the previous Soft Autumn Landscapes, we thought about how perfectly Kristin’s photos of Belgian scenes depicted Soft Autumn’s palettes and colour language. How does this translate in your appearance? How do you take the beauty of how you already are and elevate it, level by level, by repeating it in perfect harmony with the original?
Very muted means nothing bold, cold, hard, sharp, super-shiny, super-sleek, super-anything, severe, or strict. White and black, both extremes, are outsiders. I hope Kristin will forgive me if I show you white and black on SA using her photos. Does your eye anything else? All the good, easy feelings go away and you feel the tension of being expected to deal with the white dot and come up with a reaction.
Though I always expect to feel more tension with black on this colouring, since SA is the light side of the Autumn group, I’m actually more uncomfortable with white. Perhaps that’s because Autumn in general goes to a medium-dark place. More so, stark white feels a bit painful because the inherently muted colouring makes the white absolutely sparkle so I feel I have to squint or look down.
What’s worse, to balance the clanging, insistent white, the person just gets grayer. When you force two things together that don’t belong, they both seem to go further in the bad direction. Something has to give to keep the balance. The white glows more and the person mutes more. On a Winter person, they can subdue that white to be just white, not phosphorescent-where-are-my-sunglasses-I-can’t-see-the-woman white.
Clothes
Colour schemes are not necessarily analogous or monochromatic, but rather depict easy, easy transitions. The very low saturation (meaning high degree of grayness) unites the colours, enabling the gorgeously unrestricted flow for the eye from one visual element to the next. Without extremes of light and dark, contrast is low.
I like feminine and masculine combinations a lot in this and Soft Summer. When magazines put lacy tops with denim jackets, I always see it best in the Softs. Summer is inherently female. Autumn is not really masculine, but they sure can pull off a suit and carry a briefcase. There is often a squaring of jaw and a straightening of brow, which is why they look so good with square handbags and jackets.
I like complements on this group too. With the simultaneous warm and cool presence of Neutral Seasons, you often see a blue-ish eye and orange-ish hair.
The coral sleeveless top: The beading is not in high contrast to the top and it’s muted, not sparkly. Peanut shells (a big SA visual for me, in texture, strength, fibers, and colour) do not sparkle. Brown is not too hot, quite grey, and not extremely dark, so Nutella brown. The fabric drapes a bit (Summer grace) but has some structure (Autumn substance). It’s not gauze. We’re aiming for a medium overall darkness effect.
The leopard cardigan: It’s quiet, not a Hawaiian print, geometric, or outright floral. You’re not wearing the whole animal, which would smother SA in the drama. Muted animal prints work well to convey the strength and texture that so defines the Season, but this is controlled and cooled, very neutral. I’d add a more substantial belt to add strength through natural texture (Autumn).
The twinset: The jeans are browned. The peach brown tank is browned, nothing candy or blossom about it, which would be Spring. Summer brings femininity and flowers are great, but not a profusion of blooms. The octagonal shapes remind of flowers, but with more structure and rigidity. On a Spring, this would look like, I don’t know, a medieval church? Too ordered, which on them proceeds to, > recurring > mechanical > heavy > clunk. A Dark Autumn can take medieval weight all the way to heavy, leaded stained glass and just look better.
Brown cardi: there are vines (Summer) in an earthy (Autumn) colour. To balance the waviness, the skirt has more sustenance, more grounding and squaring. These bodies tend to be more squared than rounded, though some have very womanly Summer bodies.
The blue top and the grey Bermudas. A reminder that all Neutral Seasons have cool and warm versions of every colour, of the importance of neutrals, and a segue into the next section.
To see an evening look, Soft Autumn Darkness Adjustments shows some choices.
Blue
Ashley asked for us to talk about the boundaries of Soft Autumn blue. Blue is inherently cool and has more options in the cool Seasons. By the time SA rolls around, Summer is leaving us and taking its signature blue with it. Once the warmth of Autumn gold or Spring yellow start mixing in, blues turn quickly to teals and then greens. A small amount of gold makes a warm, muted blue. When Summer’s blue and Autumn orange mix, colours mute more by the effect of complements. When we get to True Autumn, Summer’s blue is gone so some of the graying by mixing complementary colour lifts and colours are clearing again.
SA’s should look at Territory Ahead. Very Mesa, desert, glowing clothing. It’s not necessary to look like an ad for Frye boots, but there are some great building blocks here. Susan pointed us to this skirt. The tone-on-tone adds interest and the flowers are brought in as texture (Autumn) rather than floral bouquets. There are some great blue options there too.
In the picture below:
Soft Autumn Blues by christinems featuring a long sleeve jersey dress
Across the top, SA blues. On the left, that’s about as light as blue (or any colour) gets. The darkness range really hugs the medium section of the scale.
Across the bottom from L to R,
- the blue tyedye long dress is Soft Summer, still foggy but distinctly cooler, a little fresher
- the purple dress is too pink-red, Autumn really isn’t a pink person in the ballet pink sense; with Summer blue leaving, they have few purples till Winter red reappears in Dark Autumn, the ochre yellow base of the Season complements purple, so what they have is very muted
- the one next to the right (so 3rd from L) is better
- the last from L, blue with embroidery and gathers on right side seam is probably darker than my Colour Book shows, but I wouldn’t mind it, it has the required dullness and neutrality (at least in the photo) ; I would not go darker, depending a bit on the darkness level of the woman
Makeup
Not hot and not dark, which go to bloodshot and obvious too easily. As quiet as the colours are, they are very medium in darkness. From the blue selection above, you can see that the range of darkness for colours isn’t wide. The same goes with makeup.
Eyeliner: Nutella again. Lauder Softsmudge Brown is good. Rimmel Sable is warmer and works on some, too red on others.
On some Seasons, strong dividing lines between colour elements look right. That’s not the case on the Softs Seasons because that is exactly opposite to how Nature made them. Smoke the liner with a little eyeshadow over top if you like, to enlarge and define more in a diffused, blurred line sort of way. Darkening the line might backfire and just close in and take over the eye.
Lipstick: Bobbi Brown makes about 9 good lipsticks, as Rose, Soft Rose, Tulle Rose, Italian Rose (darker).
Again, not too orange, this isn’t True Autumn heat yet. Still a fair bit of pink. Like the roofs in the top photo, there is also a fair brown element. I start with the terracotta flower pot visual and adjust the colour to suit the individual woman from there.
At Aveda, looking for some boundaries, I wondered about not pinker, more saturated, or darker than Aveda Wild Plum or Lychee Luxe (bit sparkly, be careful of that in makeup, same discussion as with white above; matte is your best buddy). Their Rayflower could be a flesh tone. Any SAs who try these out, I’d love some feedback.
Also, Rimmel Heather Shimmer or Revlon Colorburst Soft Rose. I like definite colour. If it’s too skin tone, the lips disappear into the face, which works better if you’re under 20. The really light lips look best on the Light Season faces (same discussion as black above).
Eyeshadow: Aveda’s Gobi Sands eyeshadow and Clinique Double Date. These colours are not that hot. The stones and wood above the white dot in the photo at the top are right. As a Neutral Season, there is a warmer palette too, as MAC Soba.
Blush: Aveda Peach Lights looks like a contender (all feedback welcome). MAC Buff (bit pinker) and Clinique Mocha Pink are good too.
A Park in Paris
An inspiring closing note that another Susan shared with me for you to enjoy (and on behalf of all of us, I thank her). This is the Parc Luxembourg in Paris. How you feel sitting on one of those benches, surrounded by those colours and textures, that light and temperature, that’s how looking at Soft Autumn should feel. Could you feel yourself relax? Listen to those feelings. They’re real.
The Emmas Are True Springs Part 2
August 11, 2011 by Christine Scaman · 44 Comments
I’d like to recognize Maytee Garza of Reveal Style Consultancy for performing the analysis for the first Emma in this article, as well as the Emma from the previous article. Sincere thanks also to the women who allow photos to be used, providing us with a richer understanding of human colouring and its inevitable associations with our natural world. From me and every reader, know that we appreciate it.
In Part 1, we talked about the draping process and offered some makeup suggestions. Today, we’re on to the person, the hair, and the look.
In 12 Season personal colour analysis, True Spring is the springboard for the clear and warmed-by-yellow palette. Spring people in general have the attribute of looking young for their age for a lifetime. Youthful skin, pointed effects (like a heart shaped face), or upturned features (like Julie Andrews’ nose or the outer corners of Mrs. Laura Bush’s eyes) are often found in this Season and its five blends. When you’re reminded of faeries and elves, you’re often in the presence of Spring. It’s the cuteness sometimes, and more often the light humoured, lighthearted, easy possibility of magic. The whole thing – the lightest touch, the sprinkle of gold dust splashing from the end of a wand, the musical trill, and the reminder that life’s limits are all imagined. Spring is enchanted to the point of being not real.
I put thought into avoiding the stereotype pictures on this site. It uses up barely any mind space because those stereotypes are quite hard to find among real people. Today’s beautiful Emma may be more Spring-like, but I expect someone could have said Summer or even Soft Autumn. There are many Spring indicators. You see the sublime skin quality, poreless, flawless. Spring is able to illuminate the skin from within, like a light backlighting the face, better than any other group. The hair colour (more later) is strongly Spring. The warmest colours in a so delicately chiseled face – it’s not a big step to fairy princess. And of course, she is not yellow in True Spring’s drapes. Everyone else is, even the Spring blends, and I don’t mean just a bit yellow. Only a True Spring can clear the jaundice in those colours.
The Person
I once said about True Spring something like “I lost the keys, forgot the map, didn’t get money, but I’m ready to party. What are you so mad about?” But that was wrong, they’re not dizzy in the least. That was before I had ever analyzed any. This is much more of a “Come on, people, now, smile on your brother” personality.
I once expected this person to be a bit manic, like a day on a rollercoaster. I put too much emphasis on the stereotype, forgot to balance the picture, and came out with Goldie Hawn on Laugh-In. We all do this with the personality traits. Once I realized that my dentist is a True Spring and then I had analyzed some, I fixed that notion.
True Spring is a relaxed and peaceful individual, one who can hold the faith that the world can work in our favour. They are undeniably cheerful, but not cheerleader. They easily trust in the value of play rather than work. They are more informal and less sensitive and focused on the details than Summers. Winter’s drama and intensity of character are not here, and neither is Autumn’s keep-your-head-down-till-the-job-gets-done drive.
If they have trouble choosing, it’s because every choice is a good choice. They can see the positive side of anything. Spend a little time with them and you find yourself as contented by life’s little joys as they are. This isn’t a sugar rush. It’s a carefree optimist with a song going in their head all the time. A summer day, a pool, and a beer are enough.
The Hair
Remember that hair is the feature least tied to skin colour. Everything I say about hair colour goes after the disclaimer of Usually…
Besides covering grey, I can’t think of a time when chemistry improves base hair colour from what Nature gives us. That’s the colour we had at 25, before we darkened with maturity. It’s the most believable, flattering, low maintenance colour we can wear. Some look great with lights woven in, many don’t, in any Season. Highlights are not a necessity, just a marketer’s dream.
The hair base is beige, though may be dark. Emma has outstandingly beautiful hair colour, a very successful base colour for many True and Light Springs. There is warmth and weightlessness in this colour, a translucency compared to the heavy, rich warms of Autumns. This is not Grizzly brown. Many True Springs have darker hair, sometimes brown enough to cross over into Autumn type browns. Absolutely no absolutes with hair.
When red exists, it’s yellow-based, so carrot yellow-orange, not squash brown-orange. Nicole Kidman, not Miley Cyrus. Shiny brand new penny. A reader helped me with the information that this colour is called Venetian Red in some lines of hair colour. It has a peach quality, where you can feel the pinkishness. Gold in hair colour is a heavier warmth, not what any Spring blends strives towards.
Spring is all about light, more so than any other. Yellow hair, varied like the colour of PeachesNCream corn can work here, but I suppose we all outgrow it and its maintenance at some point. For many who have highlighted their hair for so long that they can’t recall the base colour and the whole head is a highlight, look at the nape of the neck. Reset the head to that, or a shade or two lighter. Weave in filaments of sparkle. Stop.
Grey can be a tough transition for the pure warms because it seems inherently cool. Lighten the highlights at this time so the grey disappears into them. Eventually, a creamy grey that’s not platinum like Helen Mirren’s could be gorgeous. When she wears a more a natural grey, she seems more Summer in some ways, but you can see the yellow in the skin. She may soften to Light Spring, may lighten and soften the makeup then too.
Hair styles are fun to think about, but depend on so many things. Spring hair is beautiful when it moves, when it makes light dance. Ponytails, layers, swingy bobs, lots of ways to do this. When I think it suits the person less is when it’s heavy and lies too flat, like the straightened hair so many young girls wear. Spring is so much about the celebration of life that hair should join the party.
Pixie hair styles suit pixie faces, as in the very adorable (big big Spring word) Michelle Williams.
Interesting thing to think about for a minute: wispy hair suits wispy faces, something I see a lot in Soft Summer (Shannon Is A Soft Summer) and Dark Winter (Victoria Beckham). There’s some overlap here, people you’d wonder which they are, like Winona Ryder or Katie Holmes. A digression.
The Look
This is the fun part. When the colours and styles you add to you are a natural extension of you, that’s when it feels most right to look at you (and to be you). How do you become a continuation of a crystal green sea, a cloudless day, of what this feels like?
Words like hibiscus, frangipani, bamboo, orchid, sun, palm, banana, reef. Heat, scent, and colour to load the senses, at no risk.
1. True Spring should always inject colour. Try a purple bar on rimless or half frame eyeglass frames instead of silver or gold. True Spring does things out of the blue. Colour shouldn’t be too safe, there’s no need for it. This is not the budgie, it’s the Scarlet Macaw.
2. Adds movement. Think about several beads dangling off a hoop earring, a few light shiny bangles, or a charm bracelet or necklace. Lots of ways to be imaginative and grownup at the same time.
3. The natural colouring doesn’t feel linear, serious, or hemmed in. Neither should the clothing. To adapt a menswear jacket, choose light crisp cotton with a sheen and a colourful fabric detail in the roll-up of the cuff.
4. Tunics, smocks, hippie stuff, embroidery, the whole Peace Free love& Sandy feet thing.
5. Jeans are bright and blue. Denim’s fadedness seems contradictory to Spring’s clarity. But denim is about relaxation and holiday. These are great, intended for fun and amusement, not weeding. They are neither overly faded (read grey) or dark.
Denim can be about work too, what makes it so versatile. Avoid rugged cuts and weights.
6. Fun and funky. Aviators, colour pops, oversized purses, colourful coats and footwear, this is who can wear them and look terrific.
7. Suits are light shining on grey, tans, and bright navy. PCA puts you very far ahead by just knowing what to not buy. Keep it light to medium in darkness. No steel, soot, scalpel, ice, or black.
8. Spring is warm but delicate, especially when the facial structure is as porcelain fine as our Emma’s. Her face so puts me in mind of a young Sissy Spacek. Though her intrinsic colours are hothouse blooms, a colour riot or a very bold design may overwhelm her. For all of us, our neutral greys, browns, taupes, and so on, are the anchors for the more animated colours. They help quiet multicoloured prints and often include our hair colour tones, toning the busy-ness and looking more organized. This tunic uses warm colour in a delicate way, has random not repetitive design, and has many angular effects, like wings.
9. The colour of the dress is fresh and green, like you’d find inside a greenhouse. Spring’s message expresses youth and movement very strongly, and this dress does both in the tiered ruffling, but toned down for a grown woman to wear.
Could the green be too blue? Maybe, might be good on a Bright Spring, or a True Spring on the cooler side of her Season. Not every item in stores will be perfect in every way, as you already know very well. A shiny gold necklace, a warm pink lipstick will pull it into True Spring.
We often talk on facebook about knowing whether you’re on the warm or cool side of your Season, since in the real world, you may have to compromise your palette in one direction or the other. The concept is confusing to many but needn’t be. Your Sci\ART draping makes it clear whether you tend warm or cool by which is your runner-up, second best Season. Just buy that Season’s Book to give you a very clear sense of its boundaries and how to make the crossover with your own Season. You’ll greatly expand your understanding of your own Season and make shopping all the easier
10. The jewelry – the person looks like happy magic and so should the jewelry. I loved this, on another True Spring, our third beautiful Emma.
The necklace detail,
Light Spring Looking Serious
June 14, 2011 by Christine Scaman · 13 Comments
We talked last time about how Light Summer conveys a professional, adult image with a palette that can feel like rainbows and fairy tales.
Light Spring (of the 12 Seasons, this Neutral Season is mostly Spring with a little Summer) is in the same boat. Although creamier and less misty blue, you would use Light Spring’s palette to paint the Fountain of Youth. How we dress, how our faces and bodies look, it’s just the light we give off. Light Spring’s is the creamy green, pink, and white light of a tree in bloom (not just one little flower, as has been suggested ; this is the whole glowing magnificent tree, radiating a clear, young, vital light).
I could suggest that you to aim to project this light when you choose what to buy, but it doesn’t help much at a mall.
Let’s call this beautiful woman Lynn. Light is not the first thing you’d say when you look at Lynn’s face or her overall apperance. She knows from a Sci\ART personal colour analysis that the Light Spring palette created the most perfected skin she could achieve – but skin is difficult to illustrate, so we get caught talking about hair and eyes, though we know neither has a definitive place in deciding Season. This hair colour is a bit darker than her natural colour, but not by much. Lynn’s eye colour is not dark or intense, rather similar to the soft green leaves behind her. There is a great misconception that the Light Seasons are all blue-eyed blondes. Rachel addressed this topic better than anyone in her article on revising our idea of Spring and Summer.
Notice the perfection of the earrings, dress, sweater, both in style and colour. These people look younger than anyone else, for longer, a marvelous gift. But they don’t necessarily want others to think Barbie, Tinkerbell, cupcake, candy heart, Mother’s Day Cake, or anything else with a pediatric drift, when they assemble an outfit. This can be challenging with a palette that is sunny and delicate to the point of enchantment.
Light bounces everywhere, though not full on squinty light. The overall feeling is distinctly warmer than Light Summer’s, but lightness of colour is shared as the most important aspect of perfecting skin tone. Every item need not be perfect, is not in the collection below, and will not be in stores. The overall impression pulls single items into a cohesive Light Spring feeling.
Don’t get too playful. Though a coloured bag or jacket is so good on Springs, the brighter the colour, the plainer the style, at least for professional impressions.
Make big use of neutrals, and remember that they are luminous too.
The green blouse would be better with ivory than white, but the overall feeling is light. The pants with the yellow blouses are not part of the collection. Pants are very light neutral. Most khakis and chinos are too orange, heavy, and/or yellow-brown for Light Spring. Light beige pants are quite fine, but camel can look almost like furniture, bulky and solid on this airy lightness. It just put friction into the system that doesn’t feel good. Notice in the set above that you can feel some restraint still where heat is concerned.
In response to the Light Summer Looking Serious post, a valid point was raised that I want to share. Why does the Light Summer coat look so light (from the previous post), and this suit so much darker? Is there a difference in how dark the two Light Seasons can get? Great questions.
In my head, they went to about the same level of darkness, or not enough that it would matter in stores, though Light Spring would be the lighter of the two, with the main difference in side-by-side swatches being that Light Spring is yellower and a touch clearer (less grey). That was true of the pre-2010 books I still have. When I looked at my post 2010 swatch books (no idea when in 2010 they were made, if they were old stock or new formulas), Light Spring is definitely the lighter palette of the more recent books. A sincere thanks to the woman who pointed this out.
Sci\ART analyst Maytee Garza has posted all 12 Tone palettes on her Shutterfly page, along with photos of people in each Season. It’s a gorgeous page, one you will want to bookmark. Light Summer’s value limit is darker. The Light Spring palette looks the same as my post (not a typo) 2010 books. To look at the two, Light Spring’s look a bit hazier (as in misty,rather than grey), though those are the clearer, less muted colours. My explanation: as they lose Summer’s greyness and take on more of Spring’s yellow light, they become creamy. The purer the yellow, increasing as we move into Spring, the lighter the colour. Muted means closer to grey, a Summer characteristic. If True Summer is skim milk and True Spring is real cream, Light Summer is still only about 1%, whereas Light Spring is what? half ‘n half, not as heavy as whipping cream.
Light Spring colours must be tints, with more white added to them, or that’s how it seems, though I am no colour mixing expert. There may also be a photographic factor here, since the Light Spring swatches are the clearer (less grey) ones to look at IRL, perhaps a bit like the effect of being photographed while wearing sunscreen. In thinking of how to describe the difference, overexposed came to mind.
These articles are not intended to show the colour extremes. Only the swatch books can do that. These sets are more trying to communicate an overall feeling and simulate a real shopping experience. The coat in the Light Summer post was among their mid-darkness level browns. Is the coat above too dark for Light Spring? You may feel that it certainly is. To me, it is OK, though they would not go even one degree darker. I left it there for the illustration.
Is the colour too something-not-right, better suited to an Autumn? A Soft Autumn could probably wear it, though I don’t see a lot of orange in the colour, it seems more a Spring yellow-brown on this screen.
The issue for me is whether a Light Season would wear the jacket and pants together or if the overall look would be too heavy and somber. I still think it would work with a light blouse, but some of the very fair women may feel otherwise. Every woman will have to make a darkness adjustment within her palette, based on the darkness of her natural colouring and her own preference, how much makeup she likes, etc. The model wearing the suit is holding her own in it. The model in the photo to her left probably could as well.
How could I, I forgot handbags for the Lights?!
Interchangeable for the Light Seasons. Not too much hardware, which looks heavy. Light means light by every connotation of the word.
Light purses get dirty, I know, but I still prefer the look with this woman, clothes, and makeup.
The right column, 2nd from top, though a nice colour, may feel too clunky and heavy. May also depend on the size of the woman carrying it. Purses look good when they kind of match our body shape. Rounded with rounded, boxy with boxy, big and little with big and little.
No brown bags, which feel too weighed down and utility for Spring, especially Light Spring, even in a workplace look. I apologize to anyone with brown purses and respect, indeed welcome, your right to disagree with me as long as you tell me why so I learn something. Left column, 2nd from top, is also a bit heavy, but if something qualifies as cute, it’s probably Spring.
Middle column bottom, the blush pink may not be for the day you chair the meeting, but great for the business lunch the meeting-after-the-meeting. I believe we should find a way to wear our undertone colour every day. Others get that something is going on that their eyes are not often given.
Once again, I set prices at 100 for most items, double what I spend on anything, because beauty is not about how much money you go through.
Light Summer Looking Serious
June 10, 2011 by Christine Scaman · 15 Comments
In 12 Season Personal Colour Analysis, the Light Seasons are the Neutral Season blends of True Spring and True Summer. These people are often not as light to look at as you’d expect, certainly not blue-eyed blondes by necessity. Colour Analysis is not about what you look like. It is about what the colours that make your skin the most perfect have in common.
What’s not to like about the Light Spring and Light Summer? Agreeable in every way, reminding of sunshine, mild weather, pleasant temperatures, and easiness.What if you want to express the serious contender side of yourself, and not a dally in a rowboat?
You can dress like the boss, but he/she probably has no idea what to wear either. Two shades lighter than the men in that business seems reasonable. Can color be used to make women less threatening in male dominated workplaces? Or be seen more as equals?
When you want to be heard, it’s easy to forget that whispers work better. They clear the air like an early morning rain in a world where everyone seems to be yelling. A beautiful, natural face like the one below relaxes everyone around them. They ease the tension in a room just by being there. Light Summer personifies the breath of fresh air like no other.
When we look at the colour palettes fanned out for any Season, our eye tends to be drawn to the colours. If you planted an acre garden and it contained a single bloom, your eye would be drawn to that spot of colour. We have to make a conscious effort to notice all the other colours, meaning the neutrals. They’re the spine of the whole wardrobe, the items that the real colours are added to. Use them a lot. You don’t need an item in everyone of your greens, but owning each of the greys is a good investment. For Light Summer, they are the colour of breath, shade, and shadows.
Monochromatic (all one colour) and analogous (neighbour colours on the colour wheel) colour schemes look organized and work very well on Summers and their blends, though Spring will use more colour difference and brightness in their prints and combinations. Pair a blue-grey with a blue, or a lilac-grey with a colour from the pink-violet family. This quiets the colour but introduces the friendliness, creativity, and confidence that colour does, and is very appropriate at work.
Avoid child like details, like pintucks, gathers, bows, or dots, unless the colour is quite serious and the effect is low key. These can look great on any Spring blend, but we’re trying to look less pediatric. Smocked blouses or hippie/tie-dye tunics can look as fine as peasant and folk styles on Autumn, but best worn on days off.
Keep in mind the most essential aspect of your colouring: it never gets darker than medium, so your clothes don’t either. There is always a light block somewhere to give an overall light feeling, because that’s how looking at you feels. Get too dark and your clothes take over your face, your body, your size, your presence. You have room to move with warmth and coolness, and with mutedness or clearness, because as long as colour stays light, it is very forgiving to your skin tone’s perfection.
Light Summer is gentle colour, misty light, an early sun, and an airiness that’s still cooler than it is warm. Silver and gold would both be fine in the photo above, but silver feels more at home. There is no stark white (I know the boat is white, but that’s your left brain telling you so; if you were to paint this picture, the sky and boat are grey, and silvery grey at that). And black? Put one black spot anywhere here and your eye would see nothing else.
I set the max price at 100 for most items. Your workplace may be more glam than mine, so you may see this as a casual look.
I liked the cardi because it reminds me of how planet Earth looks from outer space, a water planet, all swirling greens, blues, and whites.
Nothing gets very dark. There would be more white tops but they publish with odd reflections.
The blue jacket on the left – too muted? Maybe. It could be sunnier, but sometimes you’ll love something that will be close enough, or you won’t be able to find the perfect thing with the time and money you own. It all has to work in the real world. Light Summer is Summer above all. Denim blues are all pretty good.
The silver watch too chunky? Better suited to a Winter? Maybe, but I like a big watch. The strap is a brushed silver and the stones, numbers, and details set in the face are small. It balances well enough.
As ever, I’m more interested in what you don’t agree with because it helps me learn. I never take anything personally, trust me.
Next post will be Light Spring.
A Personal Shopper for the 12 Seasons
December 3, 2010 by Christine Scaman · 2 Comments
I am very excited about this announcement.
Many of you met Valeria Chuba in “Valeria Is A Dark Autumn“. She also contributes often at the 12 Blueprints page on Facebook.
Valeria has launched a new business, at The Enlightened Shopper, that I so highly endorse.
I have endless respect for her understanding and interpretation of the 12 Seasons’ energies, and of her magnificent taste. You can see some examples of the outfits she assembles for the Spring and Summer in cold weather, and the application of red for the Dark Winter. The perfection of each piece and the harmony of the whole are undeniable.
The internet is a funny place. As I watch her interact with the women on Facebook, none of whom she has met personally, she amazes me with the kindness of her guidance, her unerring instincts, and her sense of how each woman would like to be seen. From a more technical perspective, Valeria has an excellent understanding of body size, shape, and proportion.
Even if you’re simply looking for a beautiful evening dress or the perfect walking coat, Valeria knows the palettes and what is in stores and on websites. She can save you hours of searching the mall and scouring the internet.
For some, personal colour analysis (PCA) is a simple solution to the problem of how to look your absolute best. Once you know your most flattering colours, and have a sense of the style of apparel that is most compatible with your natural appearance, you will look beautiful, confident, and custom-colored in clothes, makeup, and accessories. Job done. For others…
Whether PCA has transformed your outer self, your inner self, or both, it is supposed to make life easier. Those who have given themselves this experience understand that it can temporarily become harder. There is a lot to process. Someone who has been there knows how life-changing the final result can be. While you’re learning how to express your natural coloring, because that’s exactly what “Season” or “having your colours done” means, Valeria can help guide you towards the right purchases while you get you figure this out. This is the premise of Valeria’s work. She once likened it to navigating “life after colour analysis”.
Personal Colour Analysis is never about telling you that you don’t look good. It is always about giving you a better choice.
I leave you with Valeria’s words :
I want to be there for people every step of the way so that ultimately they can own their colors, their style and their essence, and move forward.
Valeria’s work includes apparel and accessories for women and men. She is also brilliant at finding the perfect cosmetic colours for women.
If you know a person’s Season and would like help finding him or her a spectacular gift, this is the perfect opportunity to visit Enlightened Shopper and introduce yourself to Valeria. You will not regret it (and neither will the person you’re buying for).
Myles Is A Bright Winter
September 27, 2010 by Christine Scaman · 40 Comments
All out glamour.
All out color. Such flamboyance of color that it takes Bright Winters time to get used to wearing it. Not Myles. He got it instantly, like he’d always known it.
Men are usually more intensely colored than women of the same Season, and Myles’ natural coloring is a great example of that. The concentration of pigment in the hair color alone is a testament to the high color saturation of the entire person. It is less obvious in the Bright Winter woman, but Jocelyn (Jocelyn Is A Bright Winter) could still dominate every color she wore, almost including black.
As a Bright Winter, in 12 Season (Tone) Color Analysis, he is fundamentally a Winter, but incorporates a small element of Spring. That means that the True Winter palette, with its dark reds, blues, and especially purples, has a pale yellow light shining on it. Colors become lighter and so slightly yellowed. The effect is of brightness and high energy, conveyed by the highest color saturation in the spectrum. (To understand saturation better, see the article What Are Clear And Soft Colours?)
You’ve met Myles before in Clear and Muted Orange In Eyes, in the first photograph illustrating beer bottle transparency in the browns and oranges coloring the iris. Here is his eye, once more. Notice the very sharp transitions between hair/skin/eye color, and how generously pigmented the colors are.
Myles had one of the most sophisticated internal color guidance systems that I’ve seen, man or woman. He could see the effects with ease, in others and in himself. He could describe what was happening under the color’s influence using unconventional analogies that scratched well beyond the surface. He could direct his own analysis after having watched his wife’s. He originated the expression “the face in hi-def” that I’ve used to describe the sharp focus of the facial structure in right color.
Draping
On such uncommon coloring, we were bound to see some extraordinary effects. The draping begins with 4 drapes representing extremes of the 4 True Seasons. The Spring drape is a deep shimmering golden caramel. Those eyes of his were enormous and glowed with a shockingly golden yellow light, not something I’d ever seen at 10AM, or any other time. It was like meeting an owl in a dark night forest.
His skin was too yellow in the Spring drape. It follows that the whites of his eyes were quite yellow. That was bound to happen in a pure Spring drape on a person of predominantly cool skin, since Myles is a Winter type. We quickly got all that sorted, but for a moment, the blazing luminosity in the eye made you forget everything else.
Myles’ PCA proceeded quite quickly because the optical effects were so undeniable. There was no other Season to which he could possibly have belonged.
Among the Bright Winter test drapes is a gleaming dark sapphire fabric. Not only is it electric blue, it is very shiny. Nobody, but nobody, can balance that color unless they are Bright Winter. It dominates even True Winter unquestionably. Myles wore this color with ease, and without fidgeting the way men do in shiny fabric. He felt confident, attractive, and relaxed.
The final point is to notice the very fine quality of the skin texture. Many Springs have this very youthful, poreless appearance in the skin. If the skin were fabric, Spring’s would be handkerchief cotton to satin. Many Springs also have a triangular or pointed feature, like Myles’ finely carved nose.
The uplifted outer corners of Audrey Hepburn’s eyes are another example. On a child, they look like the eyes of an elf, or Tinkerbell. You might see the more pointed chin of a heart shaped face, a prominent bow in the upper lip, or the outer corners of the mouth tipped upwards. For these reasons, Springs can look very youthful and alert.
The Bright Winter Man
Men are harder to know from their attire because there is more social pressure on them to conform to “guy” looks and behaviors. I see it already in my 13 year old son. A woman can communicate the unrestrained allure of a Bright Winter with jewels, shiny accessories, luxurious fabric, and large blocks of very bright color. She is the only one among the 12 Seasons who can wear logos, and they won’t look plastic.
What does a man do? First of all, what is he trying to communicate? That’s everyone’s first question when they dress.
The Bright Winter man combines Winter’s power signal with Spring’s positivity and enthusiasm. His subliminal statement is dynamic force. He is the contrast of sunshine on ice. Is there a more glorious, energizing place to be than a ski hill in March? The bracing wind, the speed of the run, the sun we’ve waited all winter to feel on our skin…no wonder people are euphoric.
The overall effect of his look should be dark, like all Winters. It should also of the highest contrast, the most important component of Winter dressing. There is maxed separation between the lightness of the skin and the darkness of the hair, so clothing combinations feel right to look at when they repeat that.
Spring makes this personal color palette the lightest of the 3 Winters, so he wears stark white extremely well. White combined with a bigger dark block is better. White (or icy light)+bigger very dark block+small bright accent=even better. Dark + bright is equally great. Only Bright Winter men can still be taken seriously in these pairings. Men of other Seasons are somewhere between dominated-by-clothing and rapper-snowboarder-silly.
His biggest problem may be not looking too formal. Even a black-brown or ink-navy suit will look like a tux with a white shirt. Dark charcoal gray will be a fantastic suit color. With an icy violet shirt? Only one guy in the room will be doing that, the only one everyone’s looking at. He looks commanding and interesting, but that violet softens him a bit. It even hints at playfulness.
When he wants to look scary dominant imposing authoritative, he can wear the night sky suit, even better with a little shine in it, the white shirt, … what about ties?
I love ties. I can look at them for hours. A man can say more with a tie than a woman can with anything. This guy can’t go as wild as his Bright Spring brother can, his Winter reserve just won’t let him. He is better when he’s on the formal side. When he chooses more traditional (still high contrast) designs with larger dark blocks that repeat the suit color, the element of bright color will seem less bold.
Winter does not want to come across as unpredictable or random. Nor do you want a design where all the colors and lines seem to flow together, which happens when the pieces of the puzzle are small. The Winter exterior should look very composed and quiet, but dramatic.
Lines should be thicker, rather than fine, which balances the strength of the colors better. The print should be obvious, which tie designers seem to do mostly in stripes. The other choice is 10,000 ladybugs. The edges of each color block should be crisp, since they are in the natural coloring. This tie could be worn well by the Bright Spring, and even the True Spring man. The tie is here, at Nordstrom.
As a Neutral Season, meaning a blend of 2 True Seasons, the palette offers a warmer go-to golden red and a cooler blue-red, a strong fuchsia. Even as a very small constituent in the overall look, the harmony gets noticed. Women can create this effect with lipstick or eyeglass frames. The red in this tie repeats that golden, strawberry red undertone, and looks electric on this coloring. It is here, at J.Crew.
I like this tie too. It is a Winter grey, like clean sharp steel, a blade, a knife edge, a scalpel. There is a slight jewel effect in the lighter stripes, like platinum, or crystallized sugar, that sparkles without being obnoxious. Tie here at Nordstrom.
On no group of man does safe color fall flatter. Casual clothing in general is very difficult because of the inherent formality and intensity of the appearance. All 3 Winters have some difficulty with jeans, but this group most of all. Nothing works, not the faded color, the almost-sloppiness, the rugged strong quality. Jeans should be the darkest possible black or blue in a classic cut.
T-shirts should be shockingly saturated with color, hopefully more IRL than in the photo. The diagonal line in this polo (here at Nordstrom) gives a triangular effect that repeats that physical traits we talked about earlier. Zigzag lines add energy and asymmetry, both Spring’s influences.
For men, Colour Analysis is more about looking good than the spiritual journey that it becomes for women. They understand that the viewer interprets appearance as education, social status, risk-taking, and creativity. For a man, clothing is an investment in themselves and their business. Fair or not, appearance is a factor that helps people decide how much money they’re willing to give us.
Men, you attract trust with your clothing, a commodity that men don’t come by easily. Making these choices is not what your wife is for (until after your PCA).
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