This article began from working with a Soft Summer who asked what the colour of her nude shoe would be.
I’m no more artistic or visionary or gifted with special colour acuity than you or anybody else. I’m just a guy who knows what I like to see and put those 12 Season palettes into 12 contexts. I don’t have a day of fashion education. I guess I’ve been amazed at how many could see it my way but part of me always wants to hold up her hands and say, “Wait a minute, who says I’m right?” Every time I show or say something, I hope everybody’s next thought is, “Yeah, fine, but give me a second. Do I agree with her?”
- The one with the star, either for Light or True Spring, would be nice on a strawberry blonde.
- For Bright Spring, the black would anchor them to the ground. The placement of it is elongated, as opposed to a crosswise bow or strap. Many are quite dark in appearance and would do well with a little black. Many others are lighter, more neutral, golden or beige overall and could wear their beige, quite like the shoe right under the words Light Spring in the row below.
- True Spring may be fair or darker than you’d expect, containing many golden greens, new coin gold, and peach-brown colours.
- The Light Spring…for them and the Light Summer, this is a fashion event that looks really good with their body and their colour-analyzed clothing.
- It’s all about the uninterrupted line. Peep toes are OK but keep the nail polish subtle.
- Few or no horizontal effects – cap toes, bows, stripes, ankle straps are only in if the shoe is fabulousness.
I’m nitpicky about perfection. For Winter, close enough is never good enough if they care about the subject at all. The idea of this article was to find that nude shoe for each type of natural colouring, or Season, or Tone, that does what fashion has taught us, which is to elongate the leg. As I got going with this article, I knew that I like to see a shell pinky beige shoe on Light Season women with light hair (Helen Mirren), just because it looks nice, not because her legs look any different. Besides the Light Spring and Summer, I’ve never thought flesh-coloured shoes looked so great, nor did it ever inspire any, “Why, what long legs you have!” sensations.
I don’t believe most fashion rules. They don’t work as well as we’re led to believe. Like the idea of wearing one colour head to toe to look tall. You don’t. You might look great or like a short person in a mobster getup, but how tall you look is about the same as if you wore light or medium colour head to toe. Far as I can see, bisecting horizontal colour blocks do matter. Length of garments can make a difference, in that a shirt that ends below the rear end makes legs look shorter than one that ends at the hip bone – but the overall woman doesn’t look shorter. As David Kibbe said in a video recording of a session with a Gamine, “maybe you look taller if you’re standing in a room all by yourself”. Who’s ever seen a 5’2″ woman and thought, “Boy, I could have sworn you were 5’5″!!!!” Victoria Beckham looks good in darkness, but even in stilettos, she looks like a small, slim woman.
Colour and line are all about context. They only look a certain way depending on what’s beside them. Put a woman alone in a picture wearing a shoe of colour similar to her leg, angle the lens upwards a little, make sure the floor is the colour of the shoes, and maybe the leg looks longer. Out in the real world, pouf, gone. She looks like a normal woman with pale shoes or absent feet.
Another of my Star Trek analogies: you know the transporter beam? When the person’s molecules are still spinning around and they haven’t gelled and landed yet? That’s the feeling I get from light shoes on dark people, as if they haven’t quite arrived. It’s a “where’s the rest of you?” impression. Similar thing happens when dark people wear none or light lipstick. We see the hair, we see the eyes, but they have no mouth. It feels like the bottom half of their face is vanished or someone turned down the opacity, as if it’s not solid. You can actually create this magnificent effect by just Bright or True Winter in Summer colours. They have lots of eyes, they always do. The face drains, so the eyes seem even stronger by comparison. They say, “My eyes are too much.”, but the real deal is that their face isn’t enough. The lips fade into the skin, the jawline is hard to see, really, it’s like the bottom half of the face is gone.
- Mauve flesh tones are superb on Soft Summer.
- I think this image of Kate Middleton looks great. Very balanced.
- Stay inside your lightest to darkest range as much as you can. A too-light shoe can stick out like too-light highlights up at the other end.
- Thank you to D. who showed us two of the styles. You should see her buy a cocktail dress. Simply amazing what she finds out there.
Ask Your Kids
As a Winter, I tend to say no before I say yes. I’ve retrained myself to think, “Why no?” About the nude shoes, I asked my 18 and 19 year old daughters. They’re of an age to believe that the status quo is probably and usually wrong. They’re of a generation to reject dogma. They understand their own natural colouring (or Season, or Tone) and how it differs from others’. If you can do anything for your sons and daughters to give them identity and independence, never mind save them a fortune, have them know their colouring. Every person should know this about themselves by the time they’re 20. Their life will be different. I’ve analyzed 3 year olds. Their lives are different.
I asked them “Does wearing a nude shoe, in a colour similar to the skin, make you look like your legs are longer?”
It took #1 less than 3 seconds to say, “No, it makes you look like you have boxy clunky feet”.
- “Does it ever work? Say if the shoe is small with minimal platforms or stilettos or other weirdness that draws attention to the shoe?”
- “Maybe. I never think skin-coloured anything is anybody’s best choice.”
#2 said, equally instantly, “No. It looks like there’s something wrong with your feet or you have no feet.”
- “Does it ever work? What about those really neutral shoes JLo wears?”
- “Not that I can see. It doesn’t look like long legs or anything, if that’s what you’re after.”
- “How can you look like your legs are longer?”
- “By having long legs in the first place. ”
Let’s say Nude Shoe will mean the shoe you could wear with anything. The one that will be least obvious at the end of your leg. It will be neutrally coloured for your type of natural colouring. Lots of women appear to have the same skin colour. This nude shoe trick is like finding your foundation – which one will be hardest to see against the background of you?
- When you’re really close to the core colour, you don’t notice it on them. Like mulberry lips on Dark Winter, like blue anything on True Summer, like gold on Autumn. True Winter can disappear black so you can do things with black that would be more obvious on the other types of colouring. Autumn can disappear print, texture, and metallics that would be a distraction on someone else and would make you notice the shoe more because the person already appears to contain print, texture, and metallic. The shoe is just adding more of the same. That’s what the game is about. Adding more of what you already are. It looks calm, settled, belonging, and right.
- Pinky, peachy, and yellow-beige are Light Spring’s world. Soft Autumn doesn’t do beige, they’re too dark and muted. Beige looks wimpy unless it’s pretty dark. They have green-toned grays and many neutral browns.
- Dark Autumn is a lot. It has heat, darkness, strength, texture, metal, animal. They need a lot of shoe.
- Nude makeup is out of gas on Winters. I find flesh-toned shoes about the same.
- Here’s a Winter (Kim Kardashian) who owns some shoes. Look through the style gallery and decide for yourself which is the longest leg, the tallest woman, and the most holistic image. Look at the whole image, not just the feet. Another gallery of Kim’s shoes.
- Better to stay with their disappearing colour. Keep the lines plain, the detail small, and show lots of skin, like the width of the exposed skin in the True Winter pump, like the lace in the Bright Winter shoe. Since black disappears on True Winter, you can sneak in a crosswise strap.
- Bright Winter is decidedly lighter than the other Winters. They are also shiny. Shoes made of tin foil would blend right in.
- The snakeskin shoes for Dark Winter (which I sincerely hope are fake). They’re fabulous. Autumn’s texture and nod to nature, Winter’s slick and expensive.
- Victoria Beckham could be a Dark Winter. Here is that colouring in a light gray shoe. Look at the 4th image down, where she’s stepping down off a step. The colour above that is better, it looks more part of her.
- Bright Winter can disappear shine. It’s just amazing what they can suppress. Might even consider the word oppress. JK. I’ve seen them turn black-brown eyeliner into gray when you paint it on their hand. You can put them in gleaming royal blue satin and it’s just a blue blouse.
I wrote this back in The Emmas Are True Springs Part 2.
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.
I don’t agree with the first sentence, or how I said it. I am thankful that it was pointed out to me. I still agree with the second sentence, having not been given better evidence to the contrary. Like this entire website, I await and welcome all evidence to the contrary of anything I write to help me find truth. Maybe that why Winters are so often colour analysts, because we’re so convinced about our own judgments. Not necessarily a good thing but very willing to change my mind.
Kate* saw two issues with my words:
1. Improvement? Says who?
2. 25? Why 25?
For some women, the result of a colour analysis doesn’t come as a big surprise. It didn’t for Kate. She had figured it out herself and just needed to join the ends on her entire palette by understanding what all of her colours and her colouring have in common. As all women with their natural hair colour, the road to wearing her colours and bringing the whole picture together will be shorter and easier.
When hair colour needs adjusting, as it did for me, the road gets longer. There’s this crazy thing going on where your brain can’t believe what your eyes just saw, you’re pretty sure you look like a clown in the makeup, being a Winter, you’re ignoring what everybody around you says, you know You best, and after all, your colourist is a colour expert, it can’t be, it can’t be, and yet, there is your phone in your hand with your finger dialing the hair salon before you’re out of the colour analyst’s driveway. Your colourist fits you in, miraculously gets the colour right the first time, but you can’t see that either yet, you’re questioning the whole deal now. Your husband is trying to help, he sees your Feng Shui is in a mess, but he can’t remember the words Feng Shui, he knows it’s not Shih Tzu because he said that one time and you laughed at him for days, so he tries again, “Don’t let your hair screw up your Shit Zing, you look gorgeous to me.”, and you want to drive your fingers into his eyes and rip off his nose. Useless, he’s just useless. You ask your friends even though you know there’s an element of performing for each other, which as a Winter, you resist, but such are life and compliments. They’re swept up in making you feel better, I could go on for pages because this does go on for months, do you send your analyst an email? will she be pissed? she might as well be because you sure are, so you see, it’s easier to start off with easy hair.
Meeting a Soft Summer who recognizes the perfection and specialness of her inherently dusty hair colour is always such a pleasure. This hair is as special as Bright Season hair in being misunderstood, under-appreciated, and difficult to get right from a bottle. Without that dusty quality in the hair, the harmony of the whole image is elusive. Kate’s hair had a few silver strands. Not only were they hard to see, once you did notice them, they absolutely added to the perfection of her own colouring, as if she’d reached a higher level of her colours, not just Lavender Smoke, but Lavender Silver Smoke.
Kate said to me,
It feels like everything you say flows organically/logically from the Sci/Art system, except these conclusions about grey/silver hair, and that your best base colour is when you were 25. I know you state in different ways that our nature-given colouring is never less than perfect, the genetic paint box is the same for skin, hair and eyes. That makes total sense to me – but seems to be contradicted by a statement that the hair colour we had at 25 is the most perfect? How can that be? The genetic coding that determines our paint box also determines our hair silvering pattern/tone/rate, and as well, the softening of our skin colour as we age, no? So, provided our hair and we are healthy, and the colour is not artificially affected by chlorine/sun/ hot iron damage etc, would not our current natural hair colour at whatever age, truly be our most perfect hair colour for us? I think it’s the casual/automatic assumption that covering grey is an improvement, as a fact, that is the most problematic for me. If we could see how young many people are when get silvers, we really would lose that association.
It’s important to me to be exact in the words I choose. In no way do I believe that covering gray is always:
A. More flattering – Sometimes it is, sometimes it’s not. Many (like me) are not ready for partial gray because the white hair is obvious on the dark background. Transitions are not always easy. On lighter heads, the white hair virtually disappears and hair colour would gain the woman nothing. To my eye, it absolutely does look younger and more exciting to have the right hair colour on about half the women who colour. On the other half, no colour, even their own at 25, would look better on them than gray.
B. Necessary – My statement above, “Besides covering gray, I can’t think of a time when chemistry improves base hair colour from what Nature gave us…” should be followed by, “…if you don’t want gray”. In that case, chemical colour is an improvement on base hair colour, as in the case of me, because it’s getting me something I want. My situation is therefore improved, if not my hair’s colour.
Summers gray very easily. But nothing applies equally to all women, not even within a Season. Women need advice they can use because they’re going to colour their hair anyhow. I sure am, whether my natural hair colour is theoretically perfect for my genetic colouring or not. I lift my face with makeup and I’m going to lift my hair. I can fully agree that it should not matter to me, that I should welcome the gray, and that many real people gray quite early in life. But the fact is that I am not willing to put my money where my mouth is on that topic. I should be glad to have one lipstick when women in Africa don’t have food. Yes, but I don’t live in Africa. I buy a box of $5.99 colour and invest 20 minutes every few weeks. The payoff outweighs the inputs. If 3 hours and $120 every month were my only option, I’d rethink it, I promise you.
I may not be the right person to talk about the silvering of hair. There are topics about which I feel more strongly. On hair colour, whatever rings your bell as long as it’s a good colour for you. If I ever sound defensive, the women I’m (over)reacting for are those for whom silver hair, or silver in hair, would not be the best choice. For instance, the woman who had children in her 40s and is tired of being asked if she’s their grandmother. To her, leaving her hair silver is someone else’s crusade. To the woman who had an illness after which her hair came back gray/silver, who felt that she’s missed a decade of her life in illness, silver hair makes her feel like she’s missed two. When life spins you too hard, hair colour, like tattoos, is a way of saying, “This one thing, this one part of my own flesh, I still control.”
Many of our choices are redirected from another problem. A cat is ticked at the stray that gets into the garbage Tuesday nights, so he attacks the other cat = redirected aggression. A person taking it out on you because they’re having a major Bad Hair Day has nothing to do with you. They’re redirecting aggression. A woman colouring her hair because illness stole part of her life isn’t making a social statement about Colour Is BetterYoungerPrettierSexier Than Silver. She’s trying to get back some time. Redirection of energy towards distant and seemingly disconnected outcomes consumes huge behaviour resources, the intention as much a mystery to the redirector as the redirectee. I guess this is what psychologists do all day. It’s not just appearance, it’s healing.
A colour analyst sees people closer to undisguised reality than many professions. You just never know someone else’s story. How much of it they want to share is their business but there is always a story, and often it’s a truly hard and heartbreaking one. Humans are vulnerable enough and carry around enough hurt. Sometimes laying the gray hair card on the table along with all the others is one card too many. I’m not defensive of my own hair colour, but the discussion does seem to spark some need to protect all these people I see. And yet, I know that nobody is even remotely attacking them. Quite the opposite.
There are online groups most of them are only too aware of their view of grey hair not too long ago, and besides, they just want women to do what makes them happy. The banding-together/sense of sisterhood comes about not because they think their way is best /only way, but rather because of the sense of being judged by society / many women who colour.
I try to speak to all sorts of women and I try to keep it real-world, no pretty or ugly, no right or wrong. I don’t judge or control your appearance, I just want you to choose from many options demanding equal time and money and be able to pick out those that will really help you.
Anna* is a True Summer in her late 30s with fine hair, a spot on her face that won’t go away, weight that won’t move despite all the work at the gym, trouble sleeping, a recent divorce, and a personal commitment to live up to her greatest potential. To run her company and appear in front of young women, to meet men, to feel like a powerful leader, she feels better with coloured hair. Right or wrong, it doesn’t matter, she looks younger, more vital, and much stronger. On that woman at that stage of her life, her life will not change for the better with thin, white hair. She’ll age visibly and she’ll age mentally. I wonder if hair can lose colour before skin. It’s only coloured by melanin, not hemoglobin or carotene. Anna’s skin is not a day over how our culture perceives 30.
June* is a True Summer with silver hair. It’s magnificent. She is magnificent with it. She’d be out of her mind to come near it with hair colour.
It’s a choice. I so often come back to this great, great question Darren asked: What is it that you want to communicate and to whom? That’s where your answer lies.
Georgette* is 18 with some early graying. Should she have the moral fiber to just wear her real hair colour, despite having heard “What a shame” once too many times, which is to say, once? 18 is shaky enough. If I were Mom and she wanted to colour it, I’d drive her to the store and help pick the colour.
No firm basis, except thinking it looks good on most women. Once dye came along, this 25 colour is often the last looked one that looked just right on most heads. It is a time when we are shown our custom-colour. Sure, our silver is our custom-colour as well, but now we circle back to the top. When women show me their grad photos, I love the colour I see. If I’m being asked for hair colour advice, I request the grad photo, and there are the hue, value, and chroma for your head. It is a specific and more interesting colour, not ‘medium to dark ash brown’. It’s a colour that stylists can use to get that woman right and happy, not wrong and even older looking.
Kate said so well, that
Any diminishing in vitality with silver hair is a perception in the eye of the beholder, driven by society. I get that many women feel differently from me, that it is a personal choice, that lots of women will colour and therefore direction on that is good, and I cherish that each woman has the choice… just so long as it’s not a choice driven by fear, to quote you about not using makeup.
To me, accuracy requires the word silver instead of grey, because each hair that loses pigment is silver/white/colourless, so the overall colour we see on the head depends on the colour(s) of the still-pigmented hairs, and % of silver. Society uses grey for everyone, but that is so not correct. I, for example will never be literally grey, as I don’t have the black hair needed to add to the mix to make grey.
Q: I am curious what happens when silver sisters take off that grey cap at the end – is there a sense that their hair doesn’t belong, the same as many women with chemically-altered hair experience?
A: I wouldn’t say that silver haired women need to adjust after the cap comes off. They adjusted long ago. They’re just looking at a picture they’re used to. Even on True Autumns, the gray is stunning against the warmer clothes. Stunning and strong and interesting. I love these unexpected contrasts and comparisons. They are visually so inspiring.
Q: Once hair begins to silver, do the grays of the palette become better neutrals in clothing, even replacing black for those whose palette included it?
A: Depends on the person and the colour of gray. What colour are the eyes? What type of gray is the hair? A Dark Season with a strong iron gray hair and black eyes remains striking in black, with makeup that looks better than ever. Every feature is like a rhinestone. A Winter with a lighter, softer gray hair may find black too dark. She is more regal, yet still austere, in sharp gray, wearing black in smaller areas if her eyes appear black. At any age, black does define, refine, and outline the colouring and features of Winters, it’s part of how you came to be Winter in the first place, but the amount of it you wear will vary by the woman, even inside a Tone.
For the other groups of natural colouring (Seasons, Tones), for everybody, wearing your hair colour looks good. It looks organized and connected. Your clothing makes perfect sense on you. It feels good to look at. Wear more gray. Should it replace your taupes or beiges? Again, it depends. A Light Spring with creamy silver beige hair still look gorgeous in her ivory and milky peach beige.
In beauty, even within a Tone, there is no one-size-fits-all. If there were, it would mean that there are 12 types of women. Nope.
We have two themes in this article. One is to assemble outfits that are ‘off-Season’. It’s easy to find clothing in our 12 Tone palettes at certain times of year and near impossible at other times. The second is to introduce a new style voice, since I wonder if my outfits are a little repetitive.
My daughter, Ally, has more style in her little finger than I’ll find in my whole life. She’s Kibbe-innocent but can see whether lines match people instantly. Today’s Polyvores are from her perspective. I asked her to keep in mind that she’s dressing women of all ages, to which she replied, “No woman of any age needs to wear granny clothes and I’m not picking those.” Fair enough.
Ally’s also here to break a few rules. In her charming 17 year old way, she asked, “Why does anyone have to do what you say?” Point taken. Nobody does. You’ll find colours and styles you might not normally see.
Light Summer in December
True Summer in October
Any one piece may not be perfect. But the whole thing together works. As S., the student who arrives this week for the training course, so aptly pointed out, the word ‘match’ isn’t always appropriate. I use it too often. Whether your clothes match the swatches in your palettes, whether your lipstick matches your red belt, whether your sweater matches your hair – it doesn’t really matter so much. They need not be identical colours. They need only look like they live in the same harmonic field relative to the the whole composition.
The idea is to use colour to create a vision that is cohesive. All the elements are working together and with you. Everything has a good reason for being there. That’s how we look at paintings, landscapes, and other people. We don’t dissect the saturation of their blouse. So the vest above is on the dark side. So the pink backpack could be pinker. In the big picture, I’m not sure it would make an important difference. The parts are finding enough in common to stay together. Not unlike marriage, or any other relationship.
True Autumn in April
Yes, it really is this cold here in April.
It strikes me that we’re still just making Polyvores. This may answer part of our purpose, which is, how to wear muted, warm colours when everyone else looks like an Easter basket.
The other part of the question is, where do I go to find my colours in April when the stores are full of coloured candy floss?
- shop wider; I’ve actually begun buying things I find on Polyvore. As eBay is the world’s biggest yard sale, Polyvore is the world’s biggest shopping mall right in my house.
- buy online, always risky, but many allow free returns.
- shop all year round for all year round; within 6 months of your PCA, once it’s caught up with you, or you with it, you will keep most of your choices for years, and you’ll spend more per item because you’ll know it looks right and will work with the rest of your closet
True Winter in September (or March)
Any of us who knows both her colours and her body line finds shopping nearly as easy as it used to be. There’s no one-stop-shop any longer. We buy Christmas outfits in July, we are always looking. Other than True Winter and Soft Autumn, I don’t really dedicated stores for colours. Even for those groups, you’ve only got their (limited) design lines to select from.
By request, the Bright Spring Dramatic Classic
Dramatic Classic, where pouffy becomes maternity or Jack Sparrow. A rounded edge is Peter Pan.
What’s interesting here is that the Bright Seasons tend to have a lot of sweetness in the personality. I’ve heard them called pushovers but that comes from someone who’s only working from a traditional, narrow, male-based definition. Power wears many hats. These people are not mean, abrupt, rude, or rough. As the Bright Spring is a Spring, she will take things to heart. You can’t throw words around that you don’t mean. Being with her is an exercise in being happier and more gentle.
Dramatic Classic is not sweet in the traditional sense either. If anything, it’s a little sharp. If you began with the absolute average woman, DC isn’t closer to being the average child. It’s closer to being the absolute average man.
The intersection of the two is that Bright Spring’s colours and DC’s lines are both very clean. No extras, no gadgets, no fuzzy, no fluff. If you drew the outline, the edges would be sharp, no question where one thing ends and the next begins. Nothing fades into anything else. Absence of blur effect, noise reduction up.
I gave Ally a few colour words – lively, clean, same or opposite colours, a little bit of Winter, and the shape words – sleek, expensive, close, upside-down triangle or straight lines, and then just asked her to dress me. She didn’t read the book because we get too rigid about rules and end up in costumes. Her job was to pull together an overall effect.
Black is small, shiny, on the bottom half, with other elements that warm up the overall look. If black is in the top half, it takes up small surface area, it’s opened up like lace or pointelle, or there’s lots of skin.
Every item need not be sunny, there’s Winter here. But each vignette should say bright, alive, warm, crisp.
Something delicate really looks good. Crispness near the face looks good, it need not be especially yellow. Bulk with angularity looks clunky or spiky. Fine, thin crispness is good, like icicles.
Smooth, geometric, shiny, new, expensive – all work with the pearls, in a chunkier setting. The pearls are fine because the edges are defined, as feathers would not be. Those long dangling earrings, some DC’s might disappear them, but on a Bright Spring DC, they’d be great. The sharpness offsets the small size.
Hearts are an inverted triangle shape, as are teardrops, both great on Spring and DC.
The whole earring that sprays up – unless you know different stores than me, you’d never wear earrings. Chunky smooth pieces that sit close to the ear and have a solid presence on the ear lobe are good.
Mixed metals are good here when they’re shiny.
No platforms on shoes. Frankensteinish.
I normally would never wear a bow, but the asymmetric position of it is good. I like the design on that sweater, interesting with the blouse. One of those excellent combinations that nobody could do like Bright Spring.
I hope that you go to the site and make these images bigger. There are some really nice things here.
I am Canadian. Summer is from May to September. In some parts of our country, we seem to have two Seasons, July and Winter.
V is a Dark Winter who lives in the Northern US. She spent some weeks in Florida in July. She made these observations:
I must’ve seen about a dozen women (ages 40 – 80) during that 3 week time frame who were wearing all-white outfits. These were just women who were out shopping, dining, whatever…not dressed up for anything special that would otherwise dictate wearing white.Some wore dresses, some wore loose tops with loose pants, etc.They all looked cool and appropriate. I didn’t have time to study what season they might have been. I simply thought they looked cool and refreshing.
V was attracted to the head-to-toe light colours but wondered if a dark person would look great in all white. My first thought was, wear the clothes. Why not? It’s just clothes. Enjoy the holiday by changing everything about how you normally live.
If I think of Jacqui Onassis in all white or white&navy, I pick the white and navy. If you take in the totality of any person, all white is never enough. In the totality of an appearance, there exists much more than just clothes, like eyes and hair. Maybe by wearing all white, our heads become a little more colourful, and that’s not bad. Little things can go a long way. Lipstick and mascara count. Throw on a great belt, a superb watch, a gorgeous head scarf, or important earrings. As ever, taste is always right, but to me, all white isn’t much more interesting than all black. Those outfits succeed based entirely on what’s added to them.
Light and Location
V. did some research and came up with this excellent article.
The author is on to something. Equatorial light is more direct (straight overhead) so more short (blue) wavelengths must reach there more often, possibly causing colours to appear cooler.
And then there are cultural differences, like if everyone around you is a blonde, how long do you stay brunette before you start feeling like an outsider? When we bring ourselves to a new place, do we change our apparel colours to suit the place, the light there, or the fashion there? What’s in the stores is different. We buy stuff when we travel that we’d never buy at home, but it just felt right for the place and the time as a way to recognize the many ways in which the new place influences us consciously and physiologically.
Dark Winter About Town in July
Any woman who knows her best colours will find some times of year easier to shop in than others. The next article will show some off-season collections. For today’s palette, buying dark saturated colour in May isn’t easy, it’s true. Like everything, you get better at it. You learn to buy your summer clothes in November. Colour analyzed women have the confidence to buy apparel whenever they find it. The colour will be just as good in six months as it is today.
Exciting Colour Combinations
I’ve had enough time living with my Dark Winter palette to now have a closet full of DW clothes. And the colors do all ‘go’ together, as one would expect. The question I have is…as so many of the DW colors are darker (and on the less-vibrant side, due to their ‘drop of chocolate’ or ‘slight film of soot’), when I pair 2 colors …for example a cobalt blue dress with a lightweight purple flyaway cardigan over it….to me, the color combination just looks “blah”. And I see this over and over with combining my DW clothes. The individual pieces are fine, but I can’t just easily mix and match. This is particularly obvious when I travel. I may have suitcase full of Dark Winter clothes but many of the combinations just don’t have much eye appeal. I’m obviously missing something that will add the ‘jazzy spark’. What am I missing?
I wondered about
1. Are the colours being worn truly saturated? This is something Winters have to grow into. As a Winter, colours are bold, strong, almost shocking. A person who doesn’t have the True Winter palette there for comparison might think many of your blues and greens are True Winter’s. These colours are so not blah that wearing too many at once can get parrotty.
2. Some women much more flamboyance and/or drama in their geometry or their preferences than others. They need styles of clothing that convey that. Design and style require that both colour and line to be right for the individual. Are the cuts too conservative/classic/careful for a person who needs more flair? All of those will come across as frumpy-ish if you are Yanger than the clothes, no matter what colour they are. Flamboyant people wear more colour all the time.
3. Clothes alone, like makeup alone or hair colour alone, don’t convey the whole image. Accessories add many layers of expression. When we buy ourselves a present, it’s often a cosmetic – affordable and fun. We own enough cosmetics and they’re repetitive. We should be buying accessories. On Winter, they also are bold, noticeable, with big presence. The hard metallic element is very much part of the image.
4. Your own taste. My suggestions can only take you so far. If they were complete and applied equally to all women, that would mean that there are 12 kinds of women. Study how other image systems put colour together. Your answers are not in any one of them but in the places where they all intersect.
Dark Winter Staying Cool
Dark colours are also very warm. Any suggestions on how to look good dressed as a Dark Winter and stay cool too?
My eye likes a Dark Season person (in the 12-Tone personal colour analysis system, that’s Dark Autumn and Dark Winter) to give an overall medium to very dark impression. Don’t forget that you are already a dark block all by yourself. We tend to look at outfits, like the all white top and pants, and forget the person they’re hanging on, the block that makes the biggest contribution of all. Picture outfits from the top of your head down, not your neck. That’s how they look to the rest of us.
Sheer or floaty textiles and lots of skin can cool even if it’s dark. I find black much more interesting in hot weather. Icy colours are an automatic fix here too. It’s Winter that gets close to white in their lightest-darkest range and takes advantage of these colours in hot weather. Summer folks may have more choice in the stores in July, but their pastels are quite far from white.
Our appearance doesn’t begin or end with clothes. It begins with the person and ends with the entire composition. Dark nail polish, jewelry, lipstick, or a purse isn’t hotter to wear but absolutely affects the whole picture. Jacquie O. was fine in her white pants, white headscarf, and white&navy tee, but it was the huge dark glasses that balanced the image. Those were what we identified her with most.
I can’t think of a website that gives real women better advice, usable and beautiful, than Imogen’s. I see she’s done some work on the site and now has an e-book that you could get free. Here, Imogen shows colours for different seasons.
Dark Winter on Vacation
What might we wear that’s more interesting than all white and still relaxed?
Every time I apply the 12 Tones of colours to a different medium, it’s like learning it all over again. Once you’ve learned to choose clothes, you figure makeup will be easy. Not so. It’s a whole new sorting experience. Students who come for the Analyst Training Course will bring a page of makeup swatches that we’ll classify to Season. We will also have a bag of fabrics and we’ll organize those. And they’ll think, “Does this ever get easier??” This is partly why I feel that those who are serious about their colours should own their swatches in more than one format.
Shopping in the Theoretical Universe
When one of the three colour dimensions (hue, value, chroma) changes in a colour, so do the other two. Maybe you’re looking at a green item and it seems a little less pure and more heathery than your swatches. You’re really not sure if it’s still in your Tone’s chroma range or not. Compare the item to your swatches based on something besides chroma.
Darkness level can be useful. If the Tone has definite upper value limits, like the Light Spring and True Spring (though really, they all do except the 3 Winters), this can exclude certain Bright Spring colours. The pastels of Summer have a fair bit of pigment, much more than the Winter icy light colours, so giving a light colour to Summer or Winter isn’t hard. The Winter ones are much closer to white.
Sometimes, the distinction isn’t so easy, especially between neighbour Neutral Seasons, meaning the 2 Softs, 2 Lights, 2 Darks, and 2 Brights. We have to go after what makes them most different. You have to get colour-specific because they’re too similar in terms of the 3 colour dimensions. Is one redder, greener, yellower, etc? Even with Trues and their 2 Neutral Seasons, it would be hard to distinguish True and Soft Summer by darkness. For some of the colours, the saturation difference doesn’t seem obvious, though it is there, because both are muted. True Summer is cooler, but ‘cooler’ is too generic. True Summer is bluer than Soft Summer. Even the blues are bluer.
Neighbouring Neutral Seasons are more accepting of one another’s colours without interfering with the overall harmony. They have the most important colour dimension in common – Light, Soft, Dark, or Brightness. They’re similar in value. The heat setting is close, one cooler, one warmer, which musn’t be discounted. One definitely looks better and one definitely looks worse, but there’s some willingness to compromise.
True cool Season palettes share no colours with their Neutral neighbours because the Neutrals contain a little heat, the one dimension where True cool Season skin won’t negotiate. There are definite detractions from appearance.
True warm Season palettes share no colours with their Neutral satellites because their Neutrals contain a little coolness, the one dimension where True warm Season skin won’t negotiate. The person doesn’t look as good in many little ways that, when added into a bigger picture, make a big difference.
So, why couldn’t the True cool Seasons share colours, like a True Spring wearing True Autumn colours, since they both respect the need for warmth? The theory seems sound enough – as long as the theory only recognizes this one single dimension, which isn’t how colour works. The result reminds me of one of Sherlock Holmes’ more famous quotes, from A Scandal in Bohemia,
It is a capital mistake to theorize before one has data. Insensibly, one begins to twist facts to suit theories, instead of theories to suit facts.
Any two True Seasons have only one colour dimension in common: heat (Spring and Autumn), high saturation (Winter and Spring), coolness (Winter and Summer), low saturation (Summer and Autumn), lightness (Summer and Spring), and darkness (Autumn and Winter) . In an analysis, a person who looks good in Autumn and Summer is probably enjoying the softness of the colours. It’s the only thing the two Seasons share. The fact is that they differ in the other two. All three have to be bull’s eye perfect for ultimate harmony. True Seasons do not share colours no matter how dark blue the True Summer’s eyes are or how blonde the True Winter.
Winter colours on Summer people stick out. It’s hard to see anything else. Summer colours on Winter people are weak. Maybe a couple of each could slide by but the whole thing isn’t right. It fascinates me to no end how the Sci\ART drape colours that Kathryn Kalisz assembled are not always exactly to be found among her swatches. And yet, the harmony with the Tone is unmistakable. I think of True Autumn’s famous schoolbus yellow, beloved by many who have been draped with it. It’s not exactly in the True Autumn swatches. You might even think it’s in the Bright Spring group. Lay all the fabrics out together and you’ll see that the colour belongs with True Autumn.
So many of Conan Doyle’s character’s quotes apply to PCA. From The Sign of Four,
I never guess. It is a shocking habit,- destructive to the logical faculty.
Colour analysts do not guess. You know or you don’t. If you’re not absolutely sure, don’t call it. Say the truth, “I don’t know.” Fine, we’ll figure it out some other way, but don’t bring in a mistake that will carry through the rest of the analysis. People send me photos and I say, “I do not know.” When I was in medical school listening for heart murmurs, the students would say “I think I hear a murmur.” And the Scottish professor who had seen it all or the genius woman who led the surgical department, they replied, “Pick one. Either you hear it or you don’t. Commit.” Colour analysis is not guesswork. It takes some confidence. You have to know when to open-mindedly yet politely ignore the client the way a doctor does with rambling medical histories and pages of internet self-diagnosis. It’s not that the ramble contains no value or truth, it’s just that given the facts of the patient’s condition (or colouring) and the facts of symptoms and illness (or colour classification), some of their conclusions cannot be correct. In our training, we will cultivate the strength of your convictions.
And from so many of the stories, the most immortal quote of all, for the I-look-just-like-my-Soft-Autumn-sister who drapes to be a True Winter:
“… and when you have eliminated all which is impossible, then whatever remains, however improbable, must be the truth.”
The Neutral palettes will compromise on heat level as long as their important dimension is respected. Keep colour dark, and Dark Autumn skin says, “A trace cooler, a trace warmer, a trace more saturated, I’ll play along. Your total look won’t fall apart.” If colour goes light, Dark Autumn skin says, “Sister, get it right or you’re done like dinner.”
Keep colour light and Light Summer skin says,”Stick with the cooler of Light Spring’s colours and it won’t be a big deal. They’re all pretty light in the big picture of white to black. Yes, OK fine, Light Spring is a bit yellower, so don’t plant a big block of it right under your chin, but your harmony won’t self-destruct.” Once colour goes dark, Light Summer skin says “There will be no good choice. We won’t like anything we see in the mirror. You did pretty well in the True Summer drapes, arguably your closest runner-up, till they turned dark and we took a wrong turn.”
Back to the topic, choosing blue for True Spring. It’s kind of tricky because blue is inherently associated with coolness. Many have trouble with True Spring blue. I would guess that the difficulty arises between True and Bright Spring. The other Seasons’ blues are quite different. Is Bright Spring blue just bluer? Yes, partly, and as the amount of blue increases, so does the darkness. Other things change too. Red is arriving in Bright Spring. Yellow is moving out. Pigments are not being muted. They’re so pure, they’re almost synthetic. True Spring still looks from-nature, without the sense of the Brights’ “Whoa blue.”
By the time we add enough yellow to colours to create a True Spring group, the most yellowed colours of all, there’s not much blue or red among the swatches. They’ve turned into turquoise and coral. But True Spring does have some blue that harmonizes perfectly with the other colours. It’s very blue but not as blue as it could be (which would be closer to Bright Spring) and not very dark.
Bright Spring blues are not just more saturated than True Spring. They’re redder by the arrival of Winter (so purplish) or less yellow (so without a green or teal quality that True Spring’s darkest blue has) . When you compare them side by side, the individual colours in the palettes are not as similar as the whole palette appears to be. This is a hard call though, if you only look at one palette. So if there’s one palette where you get hung up, buy it. Make sure you know the difference. Learn to trust your eyes and your taste too. If the blue item doesn’t disrupt your beautiful harmony, then it will probably be just fine, especially if the colour block isn’t too big.
Shopping in The World As We Know It
Got all the talking out of my system. I’m scanning the Polyvore layouts looking for True Spring blue.
I want colour. As I look, I think ‘lots of blue, lots of blue’.
There should always be more colour than darkness to perceive in all of True Spring. More colour and a feeling of sunshine. Yellow sun shining down on blue would make it look a little green IF you compared the blue to a redder blue. It leans a little turquoise/teal, not red/violet, to harmonize with the rest of the composition, or palette.
Remember that colours on every monitor look different. We’ll think more about comparisons than absolute colours. I started this post about 10 times and kept changing everything till I only worked on it in the same two hour slot each day. Imagine how long that took.
1 looked pretty good, but too dark. It’s saturated, so must be Winter or Spring. Spring’s blues aren’t red. If anything, they’re greenish, presumably from all the yellow in them. Winter’s colours are redder. I’d put this in Bright Spring as their second-darkest blue.
2 is too hazy for True Spring. It’s too dark for Light Spring and a little too saturated (too much blue) for True Summer. It also has a green quality, meaning it must be heated with yellow or gold, which True Summer isn’t. It’s in between the warmer and cooler darkest blues of Light Summer.
3 is not saturated enough for a Spring. It’s also more pink-mauve. I’d put it in Light Summer.
4 is interesting. It’s reddish, making it look a little purple. Means Winter. Too light for Dark Winter. I’d see it between True and Bright, closer to Bright.
5 doesn’t have the slight greening of True Spring’s darkest blue. Looks to me like Bright Spring’s darkest blue. A true blue that is obviously no black.
6 is more saturated than 3 but not enough for True Spring. I see haziness. Must be Light Spring. Amazing how hard it is to gauge colour in different lighting, ay? And across different textiles.
7 is hard. Doesn’t seem red enough for True Winter. The saturation is very high, leaving the Brights and Dark Winter. It feels too saturated for Dark Winter. Not sure. Probably be alright for all 3 Winters. I’d need to see the item surrounded by gray under full spectrum lights to decide for sure.
8‘s shine is making it look lighter than it is. I could imagine Light Spring’s darkest blue. Looks like it could be bluer, like it’s not at full saturation. It’s not True Spring blues which lean to green, and not dark enough to be Bright Spring’s dark blues. Bright Spring dark blues are greenish or reddish. This is pinky, like Summer’s mauve undertone.
9 is heathered. It lives between Light Spring and Light Summer.
10 is a good contender. It could be Bright Spring too, better if it were a trace more violet. Bright Spring is a Neutral Season. Like all Neutral Seasons, they have warm and cool version of colours including blue. Bright Spring has a greener blue and a redder blue.
11 is nice, ay? makes me think of Japanese art, those blossoms on branches. The blue could be good for True Spring. The flowers that go to white and black moves the item into Bright Spring or Winter, but the blue doesn’t have the red-violet quality of Winter’s effect on blue.
12 has yellow and significant haze, so a Summer. It’s a sunny day, not a shady one, so Light Summer. But it’s too desaturated for Light Summer. Maybe it’s at the low end of that Tone. If we pretend the light on it is a little cooler, it would be True Summer.
13 has yellow and more pigment, still hazy. It feels better in Light Summer.
14 is a little too saturated for Light Summer, it could be Light Spring.
15 is yellowed too much for Light Summer, looks like Light Spring.
16 is very close to white. One of the Winters get that.
17 Well, gosh, Light Spring? It’s a little too red for Light Summer and a lot too red for Soft Autumn. Not dark enough for True Autumn. My gosh, are you feeling exhausted? In Light and True Spring, those orchid purples appear. But it’s dusty. Maybe Light Summer is better. I feel all tired out now. In the same way that there are lines of garments that make sense on nobody, I guess there are colours that are right in none of the 12 Tones. That colour is making me feel weird.
18 isn’t lots of blue. What I get first is dusty, then dark. Soft Summer. Thank you, goddess, easier one.
19 could be True Winter. It’s not at full max sat like 22 and it’s reddish. You’re not alone in finding this really hard and I have all 12 Colour Books.
20 True Spring, oh, please? Nope. Not greenish and a little too dusty. If I had to say, does it lean green or purple, I think, “Shoot (or a word with similar first sound), I don’t know.” I hold up the True Spring swatch book and the blouse turns pinkish. I see a marketing opportunity here. We could sell pieces of cool, neutral, and warm gray. You could hold your garment up to it and watch them change each other. This top looks like Light Spring.
21 is Soft Autumn, right? I’m not so sure. It’s a little too colourful and not dark enough. Amazing too how hard it is to judge one colour dimension when the other two aren’t constant, as in, how hard it is to tell which of two colours is lighter when their saturations are not the same. Soft Autumn is less saturated and more dark. Light Spring purple is more decided about itself, it’s is either bluer or redder. Light Summer? Yes, probably.
22 could be True Winter in the light areas, aggressively blued with definite black feelings. The saturation is so high that I think of a Bright Winter. Shopping in the real world is like searching for the lost world of Atlantis.
23 is True Summer. I pick up no heat, or hardly any. It goes a little darker than True Summer at the bottom and the top blue part is not quite as freshly cooled. Soft Summer would be fine here, though her blues are a touch warmer, and her lighter blue-gray is less blue. Whatever. We are going to have no clothes unless we cut ourselves a little slack.
24 could be True Spring quite well (or Light Spring). The aqua writing is too blue for True Spring (would be greener) and works better in Light Spring.
25 Stark white, high contrast stripes means there’s Winter in it. The blue is too blue for True Spring. The two Bright Seasons could manage this but they would want to add sunshine to the overall look. Too saturated for Dark Winter. Could be True Winter.
26 Light Spring. Groan. I have to believe this is getting easier. For True Spring, it would need a faint green tinge and no dusty quality. This has a red tinge. I know that because I held the True Spring book up to it and the item looked even redder. But I gotta say, it’s so close.
The other confusion might be with True Autumn, but there’s no problem here. True Autumn blue is redder (purpler, actually), duller, and darker. I figure the purple must come from making gold (Autumn) from the yellow primary, since gold is added to Autumn colours. Adding purple would mute and darken yellow. Then, adding gold (purpled yellow) to blue makes darker, muted, purply blue. True Spring’s darkest blue is not as dark as True Autumn’s, and it’s a little green (from all the yellow of Spring), not a little purple. Autumn mostly has teal and brick, what happened when all the gold was added to blue and red.
27 Enough fooling around or we’ll be here all night. 27 is good. I’m using 36 as my reference red-blue in this panel. 27 one leans green.
28 is one of those pieces that would keep me wondering why. Why does it look like a strapless dresss with an undershirt? That orange stripe would captivate my attention and I’d be stuck. Not everything has to make sense of course. Like my liking of yellow-beige stone with plum doors for a house. Just put it here randomly.
29 Bright Spring. Too light for True, and tending red. Plus, details are silver.
30 I can feel a tough one coming on. Too blue for True Autumn and Dark Autumn. Must be an Autumn, though, it feels muted and earthy. What’s too blue for Autumn and still muted? Summer is. This is too blue for Soft and True Summer. Wouldn’t be Light Summer, would it? It’s a trace dark, but as Sherlock says, once you’ve eliminated the probable… Honestly, it doesn’t feel altogether harmonizing with Light Summer’s freshness and it’s somewhat dark. How about Soft Autumn? It’s a little too blue, but it feels more belonging. Is that just the cut? If it were a sheer blouse or shiny taffeta, would I have an altogether different feeling? This textile reflects light in a way that mutes colour. One thing I hoped this post would illustrate: We post photos of ourselves in a Light Summer colour when we’re really in Soft Autumn. I get sent photos of a woman comparing Light Summer and Bright Winter, and the colours she’s wearing are off for both. Maybe by just a hair but it changes the whole skin reaction, just as it changes the perception of a garment. Photos and I don’t get along. My other point: sorting drape colours accurately is hell on wheels. Understandable why analysts have trouble agreeing.
31 is OK. A bit light and better by colour in Bright Spring. The lace is rough, which makes the saturation look lower, which would place it in True Spring.
32 Quite blue for a True Spring or True Autumn. Not enough chroma for the 3 Winters. Too saturated for a Summer blend. Dark Autumn?
33 Heart be still, it seems fine. Lots of blue, not too dark. Navy isn’t something I agonize over. I organize it in fairly dark and dusty (Summer, ease up on darkness for Lights), really dark and saturated (Winter), not dark and very blue (Spring, more dark for the Brights), and there are better choices (Autumn).
34 Thanks be to Jesus!!!, another good one.
35 is good. Lots of blue, not max blue, not too dark. How do I know it leans green? Because I’ve given myself a reference point, which is 36. In a store, do the same. Gather up a bunch of close colours. Your eye will sort them automatically.
36 is a red-blue. Would be True or Bright Winter. It on the darker side and not fully saturated, as True Winter is, but I can look at it again and think, “No, no, Christine, you ding-dong, the darkness is fine for Bright Winter. It just needs a trace more chroma.” Holy cow, who cares? There are 30 million worse blues you could wear.
37 Put the kettle on, dolls. It’s good.
In any change you want to effect, three questions matter:
1. What do I want?
2. Where am I now?
3. What am I willing to do to get what I want?
What Do I Want
Very hard question. Most of us are schooled in what we don’t want. You might want to develop the full edge and potential of your appearance. If your idea of great makeup is to take what’s already there and make more of it, as mine is, Winter’s best makeup might have your redefining your position. The colours in the face are a lot and now we’re going to add a lot more. Adding just a little more doesn’t move Winter very far from the start point, or nowhere close to the max point, but maybe you just want to know a nice eyeliner and gloss and that’s all. There is no right or wrong answer.
There is nothing wrong with being a Winter without makeup. The important thing is to channel what you do towards the outcome that you want. Too often, we’ve never identified either what we want or what we do to help or hinder that. If you’re a Winter, the time has come. No face is more altered with makeup. As in life, the good and bad are equal. As in all things Winter, they are also simultaneously at both outer limits. Other types of colouring tend to look more similar with and without makeup, which is a definite good thing. But it’s the Winters who can go miles from where they started, and that’s good too.
I like a lot of colour on Winter, a lot of makeup, a lot of drama. The face is that way already. I want every woman to be all they could be. Would our 80-year-old selves excuse us for having been less than that? Would our reasons have been good enough? Hint: no excuse or decision based on fear or negativity is ever good enough.
This is good.
I know it’s hard. This is the group whose language is power, a currency that women have been un-trained to deal in by every force in their lives. Power is not second nature to us.
Where Am I Now
Even harder question. Unpacking our own luggage and seeing what’s really in there can be scary, especially if the zipper has been jammed for awhile. Lots of people can’t admit their height and weight and those are facts. As the oft-heard quote states, “Reality is an acquired taste.” And slowly acquired at that.
All those Winters from the 80s, which seem to have been in the majority, are very seldom Winters, which is fine because they’re usually wearing Summer colours. The real Winters are buried among every other type of colouring. Their road back is a longer one for the Tone you might think would be the easiest to analyze and dress. They don’t see it coming unless they are very dark of hair and eye to begin with.
Once, I’d love the Winter to walk in who is overdone in her Winterness. The young ones are, even without makeup. They’re bringing it. More eyeliner (that we remove), thigh high boots (brown, but they’re trying to be bigger and it’s good), cape flying, doing something luscious with the hair, more ME-ME-ME. In our fifties, we women have toned ourselves so far down that we can lose our discernment of what is just normal and right.
Especially in our later years, when our faces finally carry all the power that took 50 years to build, isn’t it time to stop being so careful? I get that not everyone wants to present a heavily made up, dramatic face, but it’s not even about drama in makeup. There is so much caution to shake off. Drama and glamour haven’t been added for a long time and yet, this is where they are most at home, most normal.
Personal Colour Analysis is a gateway to Here’s Who You Are.
What’s In A Winter Face: both extremes at the same time.
To be more specific:
1. Contrast. You saw this coming. It means that there is a lot of distance between everything and everything else, such as:
Features from skin. The skin is very even, smooth, and quiet. Insert into that landscape a mouth, cheeks, eyes, and eyebrows whose colours create a big and sudden jump from the background. That Shiseido banner up above.
Light – dark levels of contiguous colours. Eyeliner is dark (it contains more black than any other group). The eyeshadow next to it, the lid colour, is a fair bit lighter (lid colour is medium on the other groups). The next band, the eyeshadow contour, is quite dark by comparison (more about that later). The eyeshadow highlight is icy light, nearly white (not the case for pastel on Summers and creamy on Warms). The brow is quite dark (but not darkened more than Nature designed on anyone), very sharply defined, and dramatized extra (crisp, arched, lengthened, whatever works on that face, which is simply to see what’s there and make more of it). For sure, any particular face might need these adjusted a little, but this is the generic look.
Textures, ultra matte to ultra shine. Quiet skin. No special effects. Snow White’s face isn’t contoured (which sets up lowlights for Autumn), dewy (sets up highlights, best on Spring), or cottony (sets up fluffy, just right on a dreamy Summer). On a Winter face or a winter landscape, those look muddy, busy, and trivial, a million miles from Winter. You want foundation whose coverage is opaque enough to make a very even blanket. Powder the whole face evenly. Add lots of eyes, lots of mouth, more blush or less (both can be good). Done.
The Best Skin Finish on Winter Colouring is: Even.
2. Drama. It’s like a deficiency when drama is left out of a Winter eye design. Not wrong. There is no wrong, no answer that works across the board, even within a Season. Winters I’ve seen, they not only balance drama, they are enhanced further with it. It doesn’t look even dramatic, exciting, stimulating, theatrical, or otherwise extraordinary. It looks normal.
Would the image above make sense with a soft and gentle eye colour or shape (expression)? Winter’s is not a gradual, blended, or soft face.
When Summers buy cosmetics, look for products that have a gentle application. Remember when we applied your makeup and we divided the foundation with moisturizer, as I do on every Summer and Spring, because heavy and matte products look like a mask on your delicate skin texture and softened colouring? The same principle applies to all your cosmetics. Having said that, we also showed you that when a colour is correct, you can apply almost any amount of it and it just blends believably into the skin. That’s true, but these are two different ideas. Summer begins with a product that swatches like a watercolour. Winter is looking for oil paint.
3. Keep the number of cosmetic colours low. 1 is good. Colour is subtracted from winter landscapes. Many steely dark grays, many icy grays or icy colours (means nearly white). Very little colour activity. And suddenly, a deeply flushed cheek. A red or purple mouth. The colours in the face are shocking enough on a still and quiet energy.
Remember how on Lights, dark colour takes over? On Winters, it’s colour itself that becomes too much too quickly.
Would this be more effective if we added a buttercup, a bluejay, and a lilac? No, the red would lose its voltage. There are thousands of these photos out there because they make sense to humans by reinforcing something we already know and recognize.
4. Intensity. Don’t leave any features behind. Enhance each one to the same degree. Thou Shalt Not Be Wimpy. Apply a lot of colour to each feature and don’t blot any off till the whole face is done. Each part looks like too much on its own but it all works together when all the pieces are in place. Blend nothing till every part is done or you’ll overblend that feature back into cautious and unbalance the face.
Thou Shalt Not Be Wimpy applies equally to concealer as lipstick. The blues and purples in the skin are so saturated that a sheer concealer won’t hide them nearly as well as a product with good opacity. My favorite is Arbonne for that reason, plus it stays where it’s applied, it lasts amazingly well all day, and it dries fast so I can apply foundation over it immediately without overly diluting it or smearing it everywhere. I am very fussy about where concealer goes but I use a lot of it. For reference, I wear Arbonne Medium.
What Are You Willing To Do
Look very different to yourself? Exchanging a plaid duffel coat for a black and white herringbone is a step. Wearing bigger jewelry than all your friends? Be the only one of the girls to wear a fuchsia red mouth?
Draw a lot more attention to yourself? Stand out and apart? As many have discovered, getting noticed for being different isn’t easy, even is it’s a good different.
Wear your real true This Is Who I Am hair colour?
No right or wrong, just questions. Everything looks easy from the outside. Try it, you may find it takes some effort. What are the conditions on what you’re willing to do?
Would you wear twice as much makeup as you wear today? Most Winter women accept the eye makeup fairly easily. Lips can always be sheer. Winter’s sheer is Spring’s “Oh, dear Lord, too much, wipe it off, start again.” Winters, pick sheers with a lot of colour or save your money and buy Chapstick. Where you hear the brakes screech is with the blush. They feel like clowns for a week. What everyone else sees is a pulled-together face. Not in how much, which you can decide, but in how red. Blood on snow, right?
The Nature of Reflected Light
The Spring, Summer, and Autumn articles preceding this one are linked in their names. The idea is that our natural colours have a way of reflecting light. Beyond just the colours of the reflected light, the wavelengths have properties that reach our other senses, as texture for instance. In Chinese medicine, our fingers are entry and exit points for energy. Of course. How could they not be? They touch everything. They’re up and down-loading who we are all the time. Each of our sense organs is doing the same. Each of the 12 Tone colour collections speaks a certain language, is evocative of certain emotions, reminds of certain landscapes, and makes sense if consistent in colour and touch and sound and scent and taste. It’s all happening at once. The knee bone is connected to the neck bone.
Summer’s soft, gentle, serene, muted colours don’t make sense in leather pants. Skin with that colouring has reflective properties truer to the surface of an opal, not a mirror or an elephant’s hide. Soft Autumn skin reflects light like felt and its colours are more beautiful in that texture than done up in Mr. Freezies. Do colours bounce light in certain ways that tell us texture? Or is it that skin painted in certain colours also carries other qualities that bounce light in a way that impresses texture?
The True Winter surface is smooth and hard. Dark Winter is smoother than Dark Autumn but not 100% smooth; it’s also thick, and not quite as hard as True Winter. Bright Winter is very smooth, shinier, and semitransparent – Dr. Sheldon Cooper, as opposed to Autumn’s Magnum P. I. Though some will cringe, I’m still going with rubbery for Winter skin by comparison with the other Seasons.
So far, we’ve said:
Bright Spring: glass
True Spring: persimmon
Light Spring: petal
Light Summer: peach
True Summer: cotton
Soft Summer: flannel
Soft Autumn: suede
True Autumn: velvet
Dark Autumn: leather
Dark Winter: Vinyl
If we start at Dark Autumn and move along to its cooler side, we arrive next at Dark Winter. These are both Neutral Seasons. Dark Winter has more in common with the True Season parent of True Winter, but does share the most important dimension of colour, darkness, with the Neutral it’s paired with and whose descriptor it shares, that is, Dark Autumn.
We begin with Autumn’s canvas, which is strong and textured. As Winter settles in, the skin texture smooths out. Dark Autumn’s leather is transitioning.
Dark Winter skin throws light back like vinyl.
Not just record vinyl, but inflatable products, dominatrix gear, and tarps. Maybe even a car. Industrial, tough, shiny, smooth, waterproof, and useful. Good Dark Winter words. Not bad words for their jewelry and belts either. Dark Winter takes Dark Autumn’s gypsy/Rustic Opulent and shifts it to gladiator. A sweater in black or dark grey metallic looks like chain mail. Stud, armor, and heavy link effects are a natural fit here, scary elsewhere.
Dark Winter is mysterious. It’s Christmas Eve, the dark jewel-toned ornaments, the fireplace, the night, the lights in the windows. Very nice, but there’s something bigger going on. The feeling of waiting for something. Waiting for the reason behind the pretty. Deeper, even darker. Sinister.
Nude lips on Winter looks tired and old. Dead lips, a good friend calls it. My new favourite lipstick is Shiseido RD 305. It is just pink enough to not be red-lips. It is beautifully saturated with the touch of brown that Autumn adds to make your colours less cold and more natural than True Winter. That brown is essential to create the encompassing harmony that only a colour analyzed appearance can give. You are coloured with a little of that brown, where brown is dark orange, and your hair, skin, and eyes have some gold-amber-orange tones. If your skin is light to medium, this colour may be your best natural lip. It’s not dark, often the case with Dark Season lip colours. It’s fresh daytime believable natural lip colour. Not ready for it yet? Top it with clear gloss.
Bronzer can play a tiny part because Autumn has left behind the slightest texture or roughness. Contour carefully, with powder that has enough red to disappear into the skin (eleablake‘s Miss November is great). Follow the 3 shape at the sides of the face and down the sides of the nose bridge, using a small amount, more to carve more geometric drama into the face than to warm it up.
Soft Summer’s darker foundation trick to contour is too wishy-washy here. More colour is required to be noticeable and achieve the outcome. It’s not a bad option as you learn or if you want a very subtle effect, just be sure the darker powder is as cool as your foundation or you’ll look yellow. It takes a lot of colour to make any difference on the intensity of this inherent colouring. A few shades of beige this way or that will make less difference on Winter skin. Carefulness is plain pointless.
Darkness works. Smoke is natural, like the Autumn muting in the skin. Smoked eyes make sense. The lighter lid eyeshadow can equally well be fairly dark. Any Season can do smoked eyes, but it’s most at home on the Darks. Even the other two Winters are best to exercise caution in darkness so it doesn’t look heavy. They look better in clean and silvery.
True Winter: Ceramic
Even smoother and even harder.
True Winter: ceramic. Like a white sink. Impenetrable, tough, and enduring.
Clean. Picture the makeup colours from your palette painted right on that white sink. Dark eyes, red-violet cheeks, red-violet lips. No fuss, no frills. Not smoked (Dark Winter) or clear, as in translucent (Bright Winter). Can you tell this before they’re draped, by looking at them? Absolutely not. True Winter is always the draping surprise for me, even more so than Bright Spring.
For True Winter, that very quiet blanket of skin without a lot of cheek colour, or with an icy light cheek, is excellent, like the picture at the top. For Bright and Dark, colour on the cheek is better, I find. It adds to Bright’s liveliness and Dark’s intensity.
Eyeliner is dark. Eyeshadow is quite light and silvered. Under brow highlight is near white or some icy (near white) colour. Contour and back corner eyeshadow is quite dark. Darkening the outer back corner of eyes looks good as a way of adding drama. Use a dark gray/black eyeshadow. Go over the eyeliner to fill in holes. Drag the dark shadow out past the crease. Turn around and start pulling in inward above the crease, not in the crease. This enlarges the apparent size of the eye and recedes the skin above the crease that can close in. On eyes where the upper half of the lid is smaller than the lower half, the crease is shallow, or the eye prominent, you would omit this effect. Deposit some dark shadow at the outer lid corner.
Other Seasons will use a darker shadow that isn’t much darker than the lid colour or skip the effect altogether. On a Light Season, where dark colour takes off, the eyeshadow contour can just be the medium lid colour packed on a bit more heavily. On a Soft Season, the liner, lid, and contour are quite close in darkness level, as in medium, with contour only slightly darker. They distinguish their roles by being of different colours in similar darkness levels, rather than Winter’s variations on one colour (gray) in extremes of darkness levels. On a Winter, light means really light and dark means really dark. You are it already. So be it, as P. said so cleverly.
I do not know how bronzer can improve this face but I’m willing to see it if anyone has good products or ideas. You wouldn’t want to dull that spectacular opposition of The Purity and The Darkness that only this colouring incarnates.
Winter’s sheer is Spring’s almost-opaque. The best Winter gloss I can think of comes from Lora Alexander at Pretty Your World. The texture, finish, and amount of colour are excellent, with good clarity. Glama and Hot Lips lip colours and Fast Track blush are great (I own them). From this compare page of the Cool Winter selections, Diva looks super good too.
Though True Winter is very red-based and looks great in blue-based red apparel, I find their most natural fit for blush and lipstick is somewhere in the pink-fuchsia-purple spectrum. That may be because true red lips are like true black eyeliner, somehow harder and more dramatic than human faces really are. Dark Winter’s burnt rose red and Bright Winter’s strawberry or pink red alleviate the pure redness. True Winter does the same by using violet, meaning clear purpled pinks. Arbonne’s Raisin gloss is a very impressive purple. Lauder’s Raspberry Pop is good but gentler, as is Merle Norman’s Raspberry on Ice.
Bright Winter: Silicone
How about Bright Winter? That amazing special blend of innocence with a dark, brittle edge. The geisha could span the Bright Seasons. Once the delicacy feels almost too rare to conceive on this Earth, the hummingbird, a membrane-thin gold foil, we’re into Bright Spring.
Spring has a hand in Bright Winter. Therefore, we need a sugar coating, shiny, fun, and ornamental. Pink frosting on lids, cheeks, and lips, lilac highlights, more play (more colours at once), more theater (cat eye, a few false lashes, fine winged brows, bright lips, hats with veils, cloche hats with beautiful ornaments, because hats and earrings are face accessories). Below, the haircut, the dress print and line, all awesome.
Definitely a lighter palette than the other Winters.
The skin’s reflectance had me searching for an analogy. Fine china with that near-transparent edge? Thinking, thinking,…mostly Winter, therefore rubbery and even, but a little softer with a transparency in the outermost layer… oh, you’re going to love this, jellyfish! Not good? Soft boiled egg? Maybe. Yes.
But jellyfish is so good. Stay with me here.
The flamenco dancer.
Heavenly and magical.
You see where I’m going?
How do we translate this to makeup? You don’t have to do a lot, you have this smooth and rubbery (all Winters) clarity (Brights) already. Clear silicone skin. Increase it with intensely coloured products, pigments so pure, you would swear they’re transparent. Brush powders with the slightest finest shimmer effect on all exposed skin. Don’t stop at the jawline. It’s a sprinkling of fairy dust, that sugar topping, an overall crystalline effect.
Bronzer? A little icy gold uplight, sure. Baby peach, always good on Brights. Very little. We feel no bronzer per se here:
Chanel Glossimer in Jalousie is nice. Bagatelle is a light, pretty peach, Clarins Crystal Violet and Revlon Lip Butter in Raspberry Pie could be shared with True Winter. Stila Lipglaze Raspberry Crush is very good.
Recap: The skin is calm and even in colour and texture. By using strong lines, bold colours, intense pigment deposits, and big distance between light and dark, both adjacent and separate, we create very clear feature definition. There is no question about where one ends and the other begins.
For Summer, we said: The skin is soft and dry, setting up gentleness and gradual muting. The features are blended into the skin with colours that create a soft flow or diffusion instead of sharp definition. As colours flow into each other as hazy mists, it feels difficult to tell where one feature ends and the next begins.
For Autumn: The skin is contoured, setting up lowlights. The features are defined from the skin by colours that are warm and velvety and the judicious use of metallic glints.
This was Spring: The skin is dewy, setting up highlights. The features are fresh, lively, distinguished from the skin by being very colourful, moist, and vibrant.
Visible darkness, the eyes are near black, but how much darkness exactly? How near black?
Is that muted skin (Summer or Autumn) or sallow (a Winter)?
Is she sweet (Spring) or graceful (Summer)? She’s both if you know her. Who expected her to pull off so much drama?
In Jackie, are we finding Summer’s ‘quiet-till-you-know-her’ or Winter’s contained?
If I am completely uncertain beforehand, she’s usually a True Something or a Bright Spring. I’ve seen Jackie at her work many times. She chooses a lot of cool, muted colours, like a Soft Summer or any young woman in today’s retail offering. Sometimes she wears black, which clears, defines, and comes close to overpowering. No way she was warm enough for a Spring, even a Bright Spring. No doubt that the B&W of True Winter would be too sharp. I had never seen her wearing makeup.
In 12 Season (12 Tone) personal colour analysis, Bright Winter is the Neutral Season, or group of natural colouring, that takes most of its colour properties from Winter, with a small, but so important, contribution from Spring. When the two Tones of highest chroma come together in one person, our senses feel the hit of the purest pigments, offered in a most gentle presentation.
I didn’t imagine she would balance Bright Winter. A colour analyst has the same comparison-based sense of vision as everyone else. We can guess but we know how much money you will part with based on our advice. We don’t guess. We measure. She balanced it and then some. Her eyes were clean and crisp – what happens to part of the face happens to the whole face. It’s just that some features are better markers for it. If your eyes are clear, so is your skin. If their edges are clean, so are the rest of your features’.
Beginning with how a person looks, dark, light, etc. is only a little more secure than naming Season based on character. Especially the True Seasons. It takes a certain amount of guts to pronounce True with drapes, let alone without. Especially the True Spring and True Winter. They never look like the averages. Those we think we know from media are usually very altered.
Was I looking at a curvy faced Summer with sleepy eyes and swoopy lines? Or a Theatrical Romantic (TR) (as per David Kibbe’s fantastic 1987 book, Metamorphosis), with sharp curves in the face and the frame? All of Mr. Kibbe’s 13 body types appear in all 12 groups of natural colouring, but when I see TR, I think of Brights. What they have in common is slenderness. When you really look at them, they’re narrow from left to right, like the frames you imagine models must have to photograph so well, but much more feminine in the curves. Of the Brights I see, half or more are TR.
She couldn’t be Soft Summer. The connection that the black in the eyes made with Winter drapes was one thing. Only brown eyes in one of the 5 Winter-influenced Seasons will do that. Plus, just moving ideas around before the analysis, her character wasn’t right. The Softs are Brights are both gracious but contained. Soft Summer is steadier. She is thinking about keeping the ship on course, attending to the work of the day. She gave the analysis some thought and gathered a list of questions. She is going to get it right.
The Bright Seasons just show up for the experience. Winter thinks their way through it, Spring feels it. Brights are sparkly, not the first adjective you might think of for any Season on the Autumn side. Jackie is very sparkly once her right colours are near her, with the points of the sparkles in her nose, her chin. Anyone could have thought that was Summer’s doll-like face, small chin, beautifully shaped nose…but nobody can link character or facial features to colouring until the drapes find the truth of the colours. After that, a lot more starts to make sense.
Colorants remain pure in apparel and cosmetics for Bright Seasons because the native colours are pure. Saturation in dyes can go, and will go, as high as chemistry can take it, higher than Munsell saw back in his day. I have never seen the colour that can overpower this skin in purity. Darkness, yes. Chroma, no. Maybe if you wrap them in a neon tube, but I bet Bright Winter would just look better. Part of what sets them apart is the potential for extravagance that takes everyone by surprise, them most of all. Placing this skin in soft colour, meaning muted, meaning blued or pinked greys, meaning pastels, you wouldn’t do it if you’d watched what happens in real life with your own eyes. You’re looking at a face in a dirty mirror.
Colour saturation is extremely high in the Bright Seasons. Too often, we darken when we saturate colour in our imagination. The 3 Colour Scales (hue, value, chroma) are independent, meaning that when a colour is altered, the other colour dimensions are necessarily affected, just not necessarily in the same way. Bright Winter has higher chroma (more saturation, pure pigments), higher value (lighter), and warmer hue than the other Winters. (One could argue that theoretically, the overall value is mid range and the range reaching fully to B&W, so the same as True Winter. It is hard to accurately judge value when colours have different saturations and/or hues. My eyes think they see Bright as lighter than True, just because the yellow in the Bright palette looks lighter.)
I look for colours with incredible pigment purity and yet, some transparency. Coloured crystals, coloured glass. Jackie was too comfortable with Clinique Kissyfit lipgloss, magnificent that it was. I want you a little uncomfortable, especially Winters who don’t like to give up control. Many are pretty sure that they know their own best presentation better than anyone else (more Darks and Trues than Brights). They come in telling me they already have their best hair colour and they won’t wear pink or orange. In truth, they see themselves accurately to the exact same degree as anyone else, which is to say, maybe 50-50. Jackie had the perfect mindset. She wouldn’t put her foot on the brakes no matter what. She could see her appearance getting better and better and she just went with it. A little nervous? Maybe. Did it anyway.
I’ll keep adding till we push open those doors. As you know if I’ve put makeup on you, I’m not stingy or careful with the amount. I want you to see right colour fuse with your face and to give you balance. Never get in the way of your own glamour. Of your own anything. We moved on to Tarte Nuria gloss. Jackie could see that it was a lot more than she’s used to, but she couldn’t look away or say that it didn’t look superb. Each building block of makeup on a Winter looks like too much on its own. You need it all to balance. Eyes with this intensity need a mouth with something going on, or the face is off kilter.
We used a charcoal liner and lots of it and L’Oreal Blackened Smokes eyeshadows. Pulling the dark sparkly black shadow over the grey liner was magic. Black mascara. I’m coming to notice that Bright Winter often has ridiculously gorgeous eyelashes.
Lighting is variable in these photos and many are taken in a mirror. The colours may not be what you expect for Bright Winter. These photos have gone through four digital machines before you see them. Besides, they are surrounded by too many other colours and uncontrolled lighting to know what they really are. To know the truth of a colour, it must be surrounded by neutral gray. The walls of the room are painted neutral gray but they sure don’t look it, do they? Correct colour analysis requires neutral surroundings. For me, that’s the first non-negotiable standard.
I believe that the best beauty is the easiest for others to see. The minute something doesn’t fit, we feel it in our gut. The person has altered themselves, as if they couldn’t trust themselves the way they were. If they couldn’t, should we? People are more relaxed and honest with us if our appearance speaks the truth of us.
The beautiful girl in these pictures is at ease with herself. Jackie is easy easy for us to look at. She’s wearing lots of makeup but the colours feel like an effortless, natural part of her face. Most important, her expression shows us that Jackie feels happy and calm. We, in turn, feel happy and calm. Humans are highly empathic, women especially.
What I want to give you is what Jackie has in these photos, a feeling of being fully satisfied and grateful with what she was given, of knowing that her gifts are perfect, plenty, and enough for anything she chooses to do. I love to analyze young women so they can experience this no-turning back moment. May they carry it for a lifetime and never fill a makeup bag with colours made for anyone but their own true selves.
I am thrilled when I meet women who present themselves as they are. I have a lot of respect for the fact that when we meet, clients are without their makeup. I am given the enormous privilege of a blank slate and the permission to take it where I see the most genuine beauty. Some women don’t wear makeup and never will, and that’s fine as long as the decision is made from consciousness or hope, anything but fear (and if it’s fear, I will help you).
What happens when a woman loves sweats and denim jackets, sees herself as a student, say, or scientist, not a bombshell, dresses in Summer’s colours, and finds out in one short afternoon that she is a Bright Winter?
Annie is a stunning, and I mean stunning, Bright Winter with medium brown hair and aqua turquoise eyes. Big similarities to Sophie Ellis-Bextor, with a little lighter hair colour (see the hair colour photo in next section). Annie works and studies, loves her jeans, runners, and hoodie, and has all her gear in a backpack.
Like Jackie, she found it hard to look away from her face in lovely makeup and her own, perfect colours. Once she got back home, it came to her that she wasn’t at all sure she wants to go around being stunning. Annie is discovering what many of us have, that being noticed for our great beauty surprises us by being awkward. We get over that. Then we have to put our clothes together.
She read all the adjectives about energized, dynamic, and sharp, thought about the Snow Princess analogies and heard this. It’s too loud. Bright Winter is not brash. No Season is. Each one finds a balance. The darker, the quieter. The bolder, the more minimalist. The purer, the more crystalline. The brighter, the sweeter.
This is too hard. Close in many ways, beautiful and powerful face,
Both of those forgot two very important elements that have to show up together: delicate (missing above) and happy (missing below).
In the meantime, Annie just wants to be this. Also beautiful, but Annie looks like this about as much Sophie E-B. There are aspects that are right but it’s probably not the best fit.
Some of these are personal adjustments, as Annie feels her way to being at home in brighter colours. I recall going in to work my first day after my ‘adjustment’ and thinking everyone would notice and comment. Nobody said a word. We move into our new direction too slowly for others to really pick up on it, but to us on the inside, those first few steps feel almost earth-shattering.
But also, Annie is right in that Bright Winter walks a fine line. To say Snow Princess and leave it at that emphasizes the cold, the regal, all true, may be easier if you have Nordic genes, but forgets Spring’s melt. The Bright Seasons are a world coming alive, fresh and young, the activity of life great and small on the forest floor, in the trees, and in the fields. The lid is still on, this is still Winter, and now getting ready to fire on all cylinders. That building up is the stored energy of Bright Winter, the flash of a yellow silk tank or lining in a dark tuxedo.
The contradiction of Bright Winter is in how it will fire: as babies, with all their innocence disguising a powerful intention to live. When we choose clothes, we want that element of extreme youth, even before birth, earliest dawn. Baby colours on Winter’s dark background. Sounds of bells when the sun comes up. A jeweled silver locket. Dangling crystal earrings. A thin, shiny, sugarplum belt. Yoga pants with a line of sequins down the leg. A pink scarf with gold and silver metallic threads. Sun is still an afterthought in the early hours. Like a child’s tiara, it doesn’t have to be big and heavy. Accessories are a great way to bring your energy closer and keep the detachment you need to not feel threatened while you absorb it.
The image below is closer to Bright Spring. They still have Winter’s darker reserve but it sneaks away from them. Many more giggles. Fireworks are delicate and temporary, true of all Spring, but there’s too much movement for Winter.
This is better. The feeling is not so much delicate as fragile. It is delicate as intricate. The colours are the same. The faces too.
Need not be complicated or expensive. Need not be a big area. We see small areas just as well. A bright pink tank top with a little pink sequin detail, an ice grey hoodie in an athletic knit instead of sweatpants fleece, dark jeans, runners with a turquoise swoosh, little diamond earrings for $7, and a backpack with a red zipper.
I can’t think of a store that does inspired style with a big nod to adorable better than J. Crew. Search the Women’s page. Icy boatneck tees, an awesome handknit mixed media sweater, bright cashmere…but these girls aren’t done up and fancy. They’re not Ice Anything. Somehow they still look a little special. They’re uncommonly accessorized. Kate Spade has sweetness too, but usually too perky for a Winter. Is Crew too safe? Maybe so, but by the time these women reach their 40s, they’ll be ready to pull out more stops.
What we do is just proof in the physical world of what we believe. We cannot change our beliefs instantly, regardless of how strong the argument and the evidence. We live through that shape shifting time when we saw one thing, we consciously know it’s true, but everything else is catching up.
Give yourself the time. Invisibility was a kind of superpower in its own right, just maybe not the one you want for the rest of your life if you really think about it. Once you’ve seen yourself in your best colours, going back to invisibility feels like letting yourself down. You feel your way into your new colours over a few months. You have time to wonder, “This is just clothes. Why is this affecting me so much?” You’re doing this for you, always the hardest person to convince. Once we believe in us, everyone says, “What took you so long?”
Tea and Coffee Hair
Bright Season hair is uncommon. It’s glassy. It’s lighter than True Winter in many cases. The mistake is made of assuming it’s light to medium brown because what else are we going to call it? Wearing wrong colour, it can appear to have the dusty quality of Summer ash brown. Once the colours of clothing are adjusted, your hair looks as different, improved, and cleared, as your face.
Bright Season hair is never ash. If I were a hair colourist, I might know how to create it, or maybe it can’t be done. I have never seen it improved by hair colour. The colour is always too dense and heavy. Maybe it’s because the hair colour industry’s way of making choices for women is broken, not the fault of the stylists who are the nicest people. Maybe because Brights should just leave their hair alone. Colour chemistry hasn’t caught up with the specialness of it. I do wonder about Laminates though. They may have a place, as coloured cellophane, consistent with hair that is basically already that.
I’ve likened Bright Season hair colour to tea and Autumn-influenced hair to coffee. Bright Season hair is not only lighter in colour, the colour is lighter in density.
Annie’s hair, Earl Grey Tea with lemon in it.
Dont mess with this hair. This is not medium brown hair. It’s magic.
Often, a Bright Season tip-off is hair that is not as dark as eyes, when eyes go to black. Not always. Asian people often have hair and eyes of equal darkness. We have another Bright Winter article coming with hair that is as dark. We’ll show you root beer and black tea.
Here is one reality.
Many aspects of her face remind me of Jackie’s. The shapes of the eyes and smile particularly.
Who knows what’s real? Are the freckles? The hair colour? But what colouring.
Use of Images
The images contained in this article are of private individuals, not celebrities. I consider the permission for me to use them as a privilege. It is my intention to protect these women’s privacy and generosity. If you use any of the photos without permission, I will seek legal counsel. I do not want to have to reduce the beauty and detail of the photographs with watermarks.
This is a learning site. You are free to use any of my words so long as they are attributed back to the page you got them from (meaning entire URL, not just the site name), in every instance of their use. If you mix up my meaning and get the message wrong, feel free to omit any reference back to me.
The first draft of the Training Guide came back from my wonderful editor. Iryna, my equally wonderful book formatter, is waiting to start but I still have some work to do. I’ve been keeping my head down and not attending to posting articles and answering comments as I should. My apologies for that.
I should sound more excited because I am. I’m really looking forward to these training events – maybe especially the part where we put our feet up at the end of each day, have a glass of wine, and share some informal conversation. That and going across the street (from the hotel in London ON) to swatch makeup at Sephora. It’s going to be good.
I’m not going to talk much today. Many have asked for the 12 Colour Equations from the book, Return to Your Natural Colours (linked over in the right column) to be posted all in one place. Here, they be. Any that have appeared previously have a link to that article posted with the title. Explanations are in the articles and/or the book itself.
A reminder that these palettes went through Photoshop’s colour model, my computer, the servers, and your computer before you saw them. At each step, they changed a little. No two readers are seeing the same thing. Don’t use them to buy clothes or makeup. Use them as comparison with the eleven others. To choose your colours and know your true darkness range, use your 12 Tone swatch book. Nothing else is calibrated right.
Use them to notice how my taste prefers to see neutral colours used, the overall degree of colourfulness, the use of complementary colours (to each other and to the skin undertone), and the gradual or sharp flow between colours. The geometric figures make it hard to impossible to illustrate watercolour diffusions between colour blocks, so for that, you need to read the book or other sections of this website.
If you see light icy gray, feel free to sub in diamond and platinum, certainly neutrals for you. These also can be used in place of white to set the high contrast range with black.
Very purple, this Tone. Not much red, but a lot of pink, fuchsia, and purple. No. 5′s purple is also a near neutral colour for True Winter, more magnificent than black against the skin tone.
In the article Colour Equations Dark Winter.
Easy one. Shoot the sat up to 98-100%. Small areas of complementary colours. Something has to be happy, which means a little random (repetitive=predictable=work=Autumn)
, but not too happy. If it gets too happy, rein it in. Move it darker. Make the pattern repeating. Bright Winter is the “Life is a party. So, how come I’m not having fun?” paradox.
Something has to be delicate too. Add significant jewels profusely. Jewelry is your normal.
And shiny shoes and purses. Super shiny is also your normal.
The original is darker and more saturated in Photoshop. They lose when they’re uploaded. As dark as the belt inset in #1 feels right.
In the article Dark Autumn CE and Apparel.
In the article Light And True Spring Neutral Colours at the Office and CE.
True Spring is a (2 colour + 1 neutral) or (2 neutrals + 1 colour) look. Actually, that’s probably everyone’s best way to use neutrals, but when you wear the 2 colour, they can both be equally sized if you choose (others might use 1 large and 1 smaller block), and they can be complementary or at least quite different colours (others would wear colours of the same family or neighbours on the colour wheel). When you wear the 1 colour look, make it a bright one, not one of the gentler ones.
In the article Light And True Spring Neutral Colours at the Office and CE.
Not happy with that one, it uploaded at the very low end of the saturation possibility. The bigger problem is that it looks too warm. True Summer hinges on absolute coolness. Try again to give a better sense of the darkness and saturation levels. Darn, now Soft Summer looks too light. It’s all about comparison.
In the article Light Summer CE and Being Not Pale.
Also in the book RTYNC, I write an equation called Undertone Colour for each of the 12 Tones that describes how I see my version of the 12 undertones happening. The undertones are shown in the top right corner of the 12 colour layout pages. Below is a graphic that shows the colours I saw as the building blocks of those undertone equations.
To be really clear, I am not a colour mixing expert. This is only how I figure it in my head and much of it is probably incorrect. You gotta start somewhere. This colour chart is a good guide to the colours referenced.
Blue = French Ultramarine
Red = True Red to Alizarin Crimson
Blue = Cobalt Blue
Pink = Rose Madder Genuine looks right. In the photo below, I used Permanent Rose, Cobalt Blue, and some yellow to make the colour at 6 o’clock, True Summer.
Gray = is gray really added? As a product of black in pigments, a single drop can take over a mixture. Is the muting of the Tone done with complements alone to preserve the blue-pink undertone? I don’t know. In the colour circle below, no black was used, even for the Winters.
Yellow – the daffodil, the buttercup.
Gold = Raw Sienna to Gold Ochre.
Practicing The Undertones
A year ago, when I was thinking about the Undertones for the book, I did this. The white page at the top gives you a white balance.
I have many watercolours. If I had one straight that felt right, I used it, though it could easily have been made from the neighbour colours.
True Winter: Winsor Violet + Ultramarine Blue.
Dark Winter: Crimson Lake + Sepia.
Bright Winter: Permanent Red + Cadmium Yellow.
True Summer: Cobalt Blue + Permanent Rose + Spring yellow.
Light Summer: Cerulean Blue.
Soft Summer: True Summer’s mixture + Sepia.
True Spring: A mixture of Cadmium Yellow, quite warm on its own + Lemon Yellow hue.
Light Spring: Permanent Rose + Spring yellow + trace of Cobalt Blue.
Bright Spring: Permanent Rose.
True Autumn: Burnt Sienna.
Soft Autumn: True Summer + Yellow Ochre. I like yellow ochre, it has a thickness and opacity that reminds of a strong Soft Autumn visual I have, which is fudge.
Dark Autumn: Brown Madder (and maybe some red or blue, I don’t recall)
Answer: No. Never. They can appear to conflict until your colours are correctly analyzed.
I get 3 or 4 emails each month about this. So let’s talk about it, framed around pieces of conversations with real women. It’s the practical application of my digression in the earlier post, How To Match Foundation.
Palette and swatch in this post always refer to colours found within your particular group of colours in the 12 Tone system of colour analysis developed by Kathryn Kalisz. Some of the Tones or Seasons may have similar or identical names with other companies but if their origin isn’t Sci\ART, their colour collections are different. I don’t know how other organizations developed their palettes, what their colours are, or what the desired outcome of their PCA process is. It’s not my place to answer questions about them.
The eye photos in this post are just lovely pictures. They are not textbook examples of the words or the ideas.
If hair/eye colours are not in the palette
I am a Bright Spring with dark brown eyes, dark brown hair, and light skin.
Yes, Spring under Winter influence is often brown eyed, from a glowy topaz jewel yellow to black brown. Many persons of Asian and Celtic origin have this colouring of darkness in hair and eyes and lightness and brightness in skin.
Since this is predominantly Spring, not Winter, the person is sometimes not conspicuously contrasting, though they certainly can be. A brown eye with light skin or hair is fairly contrasting in itself. Sometimes, the Bright Spring eye is so light brown that it’s yellow, like a wolf. It’s quite a thing to see. Or to be, I would think.
not this, but notice the coat colours and the eye-coat harmony, animals are just like us,
The color of my veins, lips, and cheeks are all in my color swatches and flatter me. However, the brown in my eyes and my hair is not in my color swatches and does not flatter me when I wear clothes of that color. How can I wear brown as an eye and hair color but not anywhere else without looking washed out?
You’re wearing the colour you think you see, which is never what colour is. Here is one reason for why it’s harder to figure for some Tones.
There is variation in hair and eye colour in most Seasons, but nowhere more than True Winter and the Brights. I’m not sure of the answer from a genetic perspective. I don’t think anyone can answer the magic of how harmony happens in spite what our eyes think they see. Maybe the mysteries should remain mysteries.
The way I reason it is that we don’t know the exact pigments that make up our hair and eyes. If I showed you 20 brown eyes, could you pick out your own? Would you pick the same brown as your friends would choose? Would you pick the same browns, yellows, oranges, and other colours, that the drapes (consistent with the Sci\ART colour calibrations) identify within your colouring? Probably not, on any count. We do not know which colours make up our final colours until one is draped. If you knew and wore the ingredients that go into your total hair and eye colours, you’d be utterly flattered.
Bright Spring has many yellows, beer and clear cider colours. When they have dark hair, it’s usually root beer and black tea. It is never coffee, which only looks heavy and thick on a colouring that is as far from those as you can get. Lighter brown hair is herbal tea, not orangey-muted-gold, not velvety-dense-brown. It might look ash brown or medium brown but it isn’t. It is clear. While clear means high chroma, and transparency is not a quality by which we define colour (because colour can be bright or soft and still see-through), this hair is like coloured cellophane.
People with green, blue and grey eyes seem to always look great if they match their clothes to their irises.
I would not agree. Blue eyes will match blue drapes or blue clothes in any Season but the best match is only in one. It’s not even a difficult decision. Some aspects of a correct analysis are challenging for a woman to perceive on herself. Achieving the ultimate eye colour is usually easy.
The colour a woman has matched to her eyes all her life is never the best or correct one in my experience. She needs her Colour Book to direct her to her turquoise and only then will her eyes become all they could be. I see women hope they’re wearing their eye colour all the time and most cases, they’re barely in the ballpark.
Blue eyes under Spring influence (one of the 5 possible Seasons) are seldom blue. They’re turquoise, aqua, or cornflower (light blue with very little green, the cornflower being one of the few truly blue flowers, but to me, appears a little violet). It’s a beautiful thing when you find it.
Not just me but a lot of brown-eyed people can’t wear brown.
Quite right, many brown eyed people are Winters of some sort and have very little brown in their palette. And when they’re draped, darned if much of the brown in the eyes suddenly turns black and then they’re wearing their real eye colour at last.
Hair and eye colours as they appear are often not in the True Winter, Bright Winter, and Bright Spring palettes. I think the way it works is that the contributing base pigments are there but the mix isn’t.
You could say to me, “OK then, if I could take colours from my palette and mix them, are you saying that I could theoretically make my hair and eye colour from the swatches? ”
I think so but the truth is that I don’t know for sure if any and every mixture would still guarantee that the hue/value/chroma remain constant. If you mixed complements, you would mute the colour if either of the originals contained the complement of the other. You’d mute the resulting colour into a more muted Season.
To make clear green (say, Winter), you need a blue and a yellow without red, I would think. Could it be done? Winter colours contain red, but are there a blue and a yellow without red? I’m not enough of a colour mixer to know.
Thinking out loud now…To make clear orange (Spring), you’d need a red and a yellow that contain no blue. That seems possible, Spring colours are not blue-based, though some contain blue.
Clear violet – needs a blue that leans red and a red with some blue in it, neither of which contain the complement of violet, yellow. That could make a brilliantly clear violet, even a violent violet, if it’s necessary – sure it is, for Winters. How is that done for Spring where yellow appears in every colour? Haven’t figured that out yet.
Can I make amber or warm brown eyes with a True Winter palette? I think so. True Winter contains yellow, very saturated, a little blue without turning it green. It also contains the other primaries of red and blue. Three primaries make brown.
True Winter and the Bright Tones are intricate and unique types of colouring. Not inconsistent, just complex. Which is why I suggest they think twice before colouring their hair. I have never seen it be improved enough to balance the cost, time, and upkeep.
I can match clothes to the rim around my iris (which is sort of a dark periwinkle) and it is quite flattering but if I wear clothes that are the same brown as my irises I look washed out.
So it’s not the right brown that you’re wearing, it’s just the one you think you see as the amalgamation of all the many colours in your iris. Good call to notice that the rim of the iris is different and if you can match it, a superlative colour on every person.
How can brown-eyed people can be any Season, but only Autumns can look great wearing brown clothes and makeup?
There are a million versions of brown eyes. Brown eyes can be in any Season, but they won’t all be the same brown. Same with the 12 Tone palettes. Many Tones have brown choices but they’re not the same brown.
Nine in ten women only find out their real eye colour when they are draped. Those brown-eyed people you refer to in your question and the browns that you refer to looking great on Autumns… very unlikely the same brown.
Are cool hair and warm skin possible?
I was snow white blonde as a child, but am now a dark, ashy blonde. It’s a cool colour.
Dark ash blonde could be found on a cool, neutral, or warm person. Apparent hair colour isn’t tightly tied to the true heat level of your colouring, though your overall contributing colours and appearance are always 100% in harmony. Every person. The true heat level of your hair is perfectly consistent with the heat level of your skin and everything else.
We could take your dark, ash brown hair and place it next to five other dark, ashy heads. It would be interesting to see whose is cool, whose warm, and whose is neutral in between cool and warm. I would guess that your hair wouldn’t be the coolest if we compared it on a scale. It might be cool-ish, but that’s not Absolute Cool.
Because you know, Absolute Cool and Absolute Warm, they’re rare in human colouring. Kind of extreme. I haven’t seen a True Autumn or True Winter in ages. I see several Neutral Season versions of Autumn and Winter every month. The thing to wrap your head around is Neutral. What does it mean? What does it look like?
Just playing the odds, you are neither warm nor cool in skin and hair. If you’re like eight or nine people in ten, why wouldn’t you be, you’re a Neutral Season that might lean towards cool.
Whatever you are, cool, warm, or somewhere in between, the setting is the same in all your features. One genetic code governs your paintbox.
But I have medium light skin with golden undertones and no rosiness in the cheeks. All I see is yellow. Wouldn’t that be warm?
Colour analysis, which guides every colour decision you will make, isn’t about what you look like or appear to look like. Your natural colouring group, Tone, Season, is determined in the one way that can truthfully reveal it: how the colours in you react to other colours. Nobody can know their truthful colouring correctly without testing their own skin’s reactions against an organized and measured set of colours in a colour-neutral environment. If your colours react the way you expect them to, you would be that one person in 50 who knew ahead of time what was going to happen. That’s why it’s so hard to do from books and photos and impossible from verbal descriptions.
Your skin probably is light-medium. What colour your undertone is, or even whether it’s warm/cool/neutral, nobody knows till we test and measure it. Why am I so sure? Because nobody who comes to a colour analysis appointment is ever wearing their correct foundation – until we solve that question forever more and show you how to make the best choice.
If my hair is overly golden, my skin looks red. When it’s natural dark ashy color, highlighted with platinum, it looks tanned and alive. Just natural it is bland. Dark red wasn’t good. But when I went a more natural dark blonde with subtle red tones, I got many compliments. Dark golden blonde, more of a caramel, washes me out, as does all over light blonde with no contrasting darker pieces. Can someone have a seemingly warm complexion with cooler toned ash hair?
Actually it’s really common. Usual, in fact. Though there’s lots of good colour observation here, the description could occur in many of the 12 types of colouring. Sounds to me like you have cool-neutral skin with a little warmth, but placed next to wrong hair colour, it will look warmer than it really is. You may have a false yellow overtone, like many cool Neutral Seasons, and be interpreting that as your golden undertones and yellow warmth from the previous question.
Too yellow hair does make faces red, especially True and Soft Summer, I find. But then, there’s a disconnect in your comments. Dark ash with platinum sets up big distance between lightest and darkest, which I find looks right on nobody.
On Summer, their light/dark range isn’t this wide, since it goes from pastel to mid-dark, not icy light to very dark (which is Winter). And so it follows that their best highlight is not that far from the base colour, or else they look striped and severe.
On Winter, they do have this big light/dark range but putting it in the hair is only disruptive, breaking up their force. The randomness looks messy when placed on a colour language that is very far from random. Of course, nothing applies to everybody and you can’t generalize about hair colour across an entire Tone. Some Lights are not flattered by highlights either.
3/4 of women would say their natural hair colour is bland. Not remotely true but media has taught us that it is so they could sell us hair colour. The hair industry, ay? Their biggest problem is that they think they’re fine. Many women would not attest to that – the same ones who bought $40 a bottle of wrong foundation colour. Women love their colourist most of the time. We feel real friendship and loyalty. But regarding our faith that we really are wearing our very best hair colour? Not so sure. Hair is a trend-driven industry – highlights, lowlights, we’ve never tried copper, let’s go lighter. We only have one skin colour. It is illogical that we could be flattered by five hair colours. Become the expert of your own appearance.
Until you are wearing your best clothes and makeup, your natural hair colour will not appear as beautiful and perfect as it is – so I advise women after a PCA to make one trip to the salon to get the heat level set right and come closer to their natural colour. Then leave the hair for a few weeks and work on the clothes and makeup. Your eyes need time to readjust to the real original you and to absorb how your better colours affect your apparent hair colour by making it look perfect and ideal. Then you can really see your hair colour and you can go back to the salon, hopefully only one more time, and finish the fine tuning.
Also, once a woman has had many hair colours, she and those who have seen all those colours can’t make a solid judgment any longer. There’s just too much history swirling around. Someone outside your box needs to touch the reset button. I nominate your friendly neighbourhood colour analyst.
I am at a loss as to what color to dye my hair.
I’m at a loss too till your colours are accurately analyzed. You are like 98% of the real people in the real world who seem conflicting. You’re not. Nobody is. Everyone’s colours make complete sense.
Once we have your Tone understood, every single aspect of your colouring and the colour decisions to follow are consistent and coherent. It’s not even hard. Once we know the truth, each one of us is very logical and connected in our colouring.
But. Even knowing your Tone, I still couldn’t give blanket hair colour advice that would cover every woman equally well. Everyone makes her own darkness adjustment within a Tone. Not everyone is necessarily improved by departure from her natural hair as it grows out of her head. And for nobody is this more true than the Bright Seasons.
Art and Science
Not being able to explain a thing doesn’t make it not true.
C. said it so beautifully here,
…the science of light, the discovery that it is both particle and wave and how it behaves erratically when observed. So nature is evasive and we can not reduce everything in the world around us to neat mathematical equations
….artists working in isolation through history have been representing through symbol what scientists have been discovering in the lab at the same(ish) time and not even known it. Think of the cubists and surrealists relating back to Einstein’s new world of curved space and the theory of relativity, or the complex inherent patterns in Jackson Pollocks’ work reflecting a new understanding of the complex, previously overlooked patterns in nature.
It seems artists, at least revolutionary ones, had/have a deep unconscious understanding of the stuff of the universe and represent it through symbol before we have the words or the science to explain.
All of these threads…point in the same direction. Colour theory, it seems, is not about finding the best lipstick. It is recognizing we are made of the stuff of the stars and finding our place in the universe.
We share zodiac signs, Meyers Briggs types, and Season. How could we not have a day of the analysis and philosophy of beauty and self?
Here we begin. Cuteness beyond words.
Draping and Black
Once she had a chance to review the journey of her colour analysis, Lilia asked,
At first, we did the four drapings of black, brown, silver, and gold. We saw that black gave a severe look and was the worst followed by silver and gold which all gave something good and bad, and then brown that felt comfy but not striking.
So why in the world would I wear that black color on me if I know it was the worst on the first drapes we saw. If there is some color I should combine as a basic and then adjust to my Tone, why could it be more the brown that was the best of the four ? (from what I remember but maybe I have a bias in my memory?)
You’re remembering the very first drapes where the categories are still very broad. When I use those first four drapes, I am not thinking in terms of Season decisions. We were gathering information about what your skin does placed next to different colours. Only True Seasons will have definite Yes/No reactions, but they’re 1 person in 10.
We will see better and worse effects with all four of these early drapes. Dark Winter often looks comfortable in True Autumn if you ignore the yellow because they have a little muting and that type of warmth. Their eyes often connect with some Spring colour characteristics – why? Because they find and harmonize with the higher saturation. I think in terms of “skin better with gold than yellow, eyes better with higher saturation” rather than “Winter over Summer”. All four of these first drapes can be equally success and compromise, even the one we might pick as best.
Black wasn’t Lilia’s worst. It was the best in some ways, despite too much shadowing. Summer silver grey was non-existent, diminishing of her and diminished by her. The drapes have an effect on us and we have an effect right back on them. The skin was fogged in, cloudy, yellowish, almost polluted – what Winter colours do to Summer colours when held side-by-side. Winter’s white makes Summer’s white look yellowish even though it’s not, it’s slightly blue-pink-muted. Only black cleared the smog to perfect the skin tone, removed the jaundice of Spring and Autumn, and brought definition to the features. Too much definition? Certainly, but we adjust that later on in the process.
Those first drapes represent the extremes of that pure Tone. Very few people wear them perfectly. I haven’t seen a True Winter (or True Autumn) in forever. Yes, it is a compromise to choose black as the best, but at the first drapes, everything is a compromise unless you’re a True Season. Plus, our eyes hadn’t yet learned all they were going to. They had many more comparisons to absorb. The process adjusts and adjusts. That True Winter black is too blue-black and too shiny but there are many blacks, just like many blues, and so on. Dark Winter’s is a little warmer, a little duller. Extract some Winter blue, hold it in front of a diesel exhaust for a moment (meaning add a little Autumn gold), et voila! Dark Winter white extracts a little of True Winter’s blue and adds a drop of dark chocolate(Autumn gold).
I don’t suggest all black on anyone, even in your best black. It looks Babushka. It makes a person look older. Colour is younger without even trying. Head to toe black is outdated, an urban myth, an energy flat line. But Dark Winter can and should wear black. It is a very basic wardrobe colour on that Tone. Some Dark Winters feel that dark brown or dark blue are more modern than black to wear with other colours and I don’t disagree at all. With black, the pendulum went too far and it’s time to center it again.
On Dark Winter, it’s only black that I don’t love best when it’s shiny. Shine exaggerates. Light gets lighter, warm seems warmer, cold, colder. All the other colours in the Tone are equally good matte or shiny. My opinion only, Bright Winter is shinier than even Winter’s usual high shine. Dark Winter is the least super shiny.
I take a lot of heat about this particular green. In the Masterpiece Drapes we show at the end of the session, there are 15 stunning colours for that Tone. About the green, every single woman says, “Are you sure?” She is uncomfortable and squirmy. She declares, “Ok, well, I’ll never own anything in this colour!” Some go out and it’s the first purchase they make (that’s usually the woman who’s given me the most heat over it )
I still only own it as a facing on the collar of a red vest. I don’t remember it from my own PCA. But what did I know? We analyzed my family of 5 and found 3 True Seasons and 2 Neutral Seasons that were the same. Meant nothing to me. We could have been 5 Bright Springs and that would have seemed normal.
In a year, a woman owns an item from about half of her palette. She is comfortable in her more perfect makeup colours, and she pulls out the palette and thinks, “Look at that colour. Why have I never seen it before? Why do I not own anything in that colour?” And the world of you opens up a tiny bit more.
The green is important in the wholeness of you. Every one of your colours is. We get caught up wearing our six best but no landscape is complete with only that. We need our earth and bark, our bitters and sweets, to present our totality. We are a balance of our light and shadow places. The circle of life, the equilibrium that must exist. Your colours can access parts of you that you can’t reach on the day of your colour analysis. You don’t know about these levels and regions of you yet. The colours are looking further down the road of you.
There is a tendency to see these final drapes as 15 turtlenecks. They are wherever you insert them. Your eyes will capture one button on a friend’s coat. A navy coat is far more interesting with a narrow green band sewn into to the cuff or lining, or the whole lining!, than it would be as a solid navy block. The person is communicated more completely, as the multilayered individuals that we are. How amazing is it when your clothing can be that accurate about you?
The One and Only Magic
Today, I wore lipstick and I just saw my lips, no harmony, just biiiiiiig lip color! I went back home and indeed it was a true winter sample. But on the palette it was good and did harmonize well! Also my coat is a navy blue, not as dark as the one in the fan but with more saturation and clearer. Funny how yesterday with a deeper blue/and black, I got complimented each time crossing someone and today, nothing. Seems true winter colors on me are awful and it makes such a difference switching from dark winter to true winter!
No question, it is unbelievable how the little adjustments make a giant difference in how you look and feel once your eyes and heart are sensitized to it. If you can’t quite tell if a colour matches for saturation, look at it another way. Is it too blue? True Winter is where you may find most errors, but they’ll all be too blue.
How close your choices have to be to the swatches is something many women wonder about. Next post: 3 Weeks After Your Colour Analysis.
I wonder if colour analysts agree that we don’t meet people and work at guessing their Season before the draping begins. But subsconsciously, we analyze every person we meet – and for me, on every aspect of our interaction. True Winter will wear makeup to the appointment. I’ve only met 5 or 6 and it has not failed. They will find a way. The Lights will say, “Sheer is never sheer enough.” Dark Winter will tell me fairly early on what they don’t like. Lilia doesn’t like any version of purple, from the iced violet that is usually a favorite, to any other version. Burgundy felt much better.
She said, “I showed my PCA pictures to some people, and each time it’s Ooooooh that purple is SO beautiful on you! Dammit! As I see it, it is really a big deal because it’s the undertone.”
Yes, approximately what I see as the undertone of Dark Winter. As you’ll read in my book, I don’t really know what undertone is as a biological layer. Nobody ever defines it in a way that makes sense to me so I do what I always do – I make up my own version till I hear a better one. The book (RTYNC over in the right column) shows the undertones as I see them today, though for some (like Bright Winter), there were a couple of choices (not Dark Winter).
I’ve read that undertone is the colour of our different bloods. That implies structural changes to hemoglobin, doesn’t it? It’s not implausible that it could change its molecular structure enough to alter its colour without impeding its binding with oxygen. Who’s going to fund the research to prove it? What drug could be developed based on the data? Undertone is a bit of an aura feeling I get, though I’d never put that in a book. It’s like the sum total of the glow of the individual. Does that imply that I can see it before the draping? No way. My eyes need to see the reactions of your skin just as much as yours do.
Lilia: So from what I understand, I chose the only colour I hate in the world to be my very number 1 good colour.
Ok, Number 1, it’s funny.
But on a psychological level, philosopher that I am, I’m sure we have an intuition for colour. I’m sure we deeply know and recognize what’s good or not. When I see my wardrobe I can find a lot of consistency with Dark Winter. Why would I have eliminated the best colour on me ?
Christine: Yes, it is funny. And, for me, fun. I love to take you as far as possible from the woman you arrived as. I want to open every window in your mind that you will allow so you can see yourself as you never have. Your choice of words is so good, “I chose the only colour I hate…”, because you did.
Many women wonder why they have aversions to their best colour, even on a larger scale of “Why would I eliminate my entire Season?” I don’t know but I’ve talked about it or around it a lot. We lose our path. We hear other voices than our own from when we were that little face up at the top. We believe compliments to be accurate when in fact, compliments are always always emotionally invested. We don’t love who or what we are. We need permission to be our real selves. So many things.
Lilia: Is there something to fear about being beautiful?
C: Yes, I think there is. One woman said she actually felt uncomfortable being noticed for this reason. Like separating herself from the safety net of her human tribe. Like having to live up to a newer, bigger, fuller, stronger level of herself. When I pray, I don’t ask for cash or prizes. I ask for the health, happiness, and safety of those I love. And I ask that I can be enough to achieve the things I want. Could that be it? Could we feel afraid that we’re not going to be enough for what this new face communicates?
Lilia: Yesterday, I was wearing good colours. I was complimented and I felt SO awkward. That was so unusual. I didn’t expect that effect. I thought that I already had good colours in my makeup and clothes base. I felt that I just needed a few changes to put all of them together and the difference wouldn’t be that much that anyone would notice except me.
ERROR. I discovered there is a “wow” effect. There is a magical effect. (that magical effect that I didn’t have with TW colours today). Now, I can now recognize it very well when “the magic” is here.
C: Those photos we took are striking in a visceral way. Only the exposure and saturation are raised a trace to show the true colours. Often with those last drapes and the makeup on, my heart rate speeds up. It’s very physiologic. The beauty of it makes me light-headed. My breathing patterns change because my brainwaves are altered. It’s not just me, I just have thought about it more.
Lilia: Colours are waves. Anybody who had already knows a little physics knows how waves and frequency work: when you add the same ones together and you have a signal amplified. Adding contrary ones gives a zero signal. I just realized today how obvious it is to link colour analysis with the theory of amplification in physics.
M: Synchrony >> Synergy = More than the sum of its parts. Interference theory.
You get better at seeing magic when you compare closer and farther over the next few weeks of learning your colours. The closer to the palette, the better. With every shopping expedition, you will compromise less.
Reading to Grow Your Soul
Lilia brought this into my world. You will feel closer to who you want to be and how you’re going to get there. From before The Secret took over our co-creation paradigms.
Click on The Game of Life and How to Play It.
If you re-read or remember any part of it because you never heard it said that way, then donate.
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