What It Takes To Look Normal (Living Up to Bright Winter)
September 23, 2013 by Christine Scaman
Q: Why is learning Yoga like learning your colours?
A: Because it’s the same as learning anything.
It takes a Winter to make black look interesting, deep, meaningful.
Only a Summer’s colouring can take pastel yellow, and greenish yellow at that because how else can you make yellow cool but add blue, and have it look happily, generously, fully, softly, buttery yellow.
The drape colours and our clothing colours, they have an effect on us. We have an effect right back on them.
The heat of True Autumn doesn’t look too hot under that face, nor does it make her face too yellow. The gold, teal, and bittersweet look perfectly at home and she looks peaceful and honest, Autumn’s claims to fame. I so love these qualities in these people. There is nothing for neuroses to stick to. It just bounces back in the best way.
The Dark Seasons aren’t necessarily dark to look at. There’s lots of hair and eye variation, just like any other Season. What Dark means is that on them, dark looks normal. On other colourings, it would look too dark. My ‘normal lips’ lipstick is darker than you’d expect because as a Dark Winter, my colouring takes dark and turns it into right. Once we learn our own colouring, we control the retail world, a nice change from the other way round, which is how most folks live.
A Spring guy in Autumn colour tells the world, “Hi, I’m John and I’m a little angry all the time. Watch out, I piss off easy.” And yet, nothing of the sort is true, but no wonder nobody will give him leadership positions.
You walk into an office. Before you cross the carpet to shake his hand, the Autumn guy in Autumn colours has said to you, “I am THE guy who’s going to get you and your 8 cats out of a burning building.” And as you cross that carpet, you think, “Buddy, you are THE guy I want around to get me and Poochie out of the fire.” If he’d been wearing Summer colours, he looks lucky to get himself out, let alone Poochie and you.
Find the first edge of your Season. Settle, wait, and become. Grow back into your natural colouring.
Here’s a stereotype for you: the Bright Winter being told she’s a Light Summer. Happens often. Both are Neutral Seasons that have much in common in 12 Season personal colour analysis (PCA). Both add the same amount (small) of the same kind of heat (Spring). But we forget the differences between icy and pastel and can’t interpret them on a human face without right drapes. Bright Winter’s super concentrated blue looks normal on her, just blue, even more normal and balanced if it’s shiny. She looks reasonable in it. Reasonable, exciting, and could be taken perfectly seriously without being remembered only for what she wore.
Digression 1: about comments that Winters can’t be blonde-haired or beige-haired and blue-eyed because it lacks in contrast. It simply isn’t true. Please, come and watch a real analysis with accurate drapes. Please, at least be open to the possibility that there is another way. Once you see this person balance pitch black, or once you watch their presence fade, the lower half of the face weaken and recede, see the face appear dusted with white powder in Light Summer colour, the face become mottled and yellow in Summer whites, you begin to understand. PCA is about discovering your natural colours. If this light-appearing person harmonizes with pitch black and pure white, then they contain those pigments. Therefore, they contain the contrast of a Winter. The fact that this information can’t be discerned by staring at the complexity of a human face doesn’t make the information incorrect. It’s the part about knowing human pigmentation without measuring it that might need some revision.
Digression 2: I see things online about the relationships between Neutral Seasons that have a similar start point and add the same amount of the same kind of colour warmth/coolness. So, Dark Autumn and Bright Spring begin as pure warm Seasons (True Autumn and True Spring) and move one step into Winter. When they share colours, to my eye, it doesn’t work as well as the theoretical/conceptual argument would have you think. Keep the overall balance in mind. Try not to borrow from the other palette precisely, but rather from a space between it and yours. It’s not a bad idea at all, it’s quite clever. There is a relationship between these groups for sure, as there are many relationships between the groups of natural colouring, the Seasons. I find the Winter Neutral Seasons of Dark and Bright actually do better in True Summer than Soft or Light respectively. True Summer is just a little warm relative to Winter, has more clarity than Soft and more darkness than Light. The overall of True Summer looks closer to home on a Winter Neutral than Summer’s Neutrals do. In clothes or drapes, it’s the True Summer that looks better on Dark and Bright Winter, IMO.
On a Light Spring-coloured person, Soft Autumn colour looks bulky and chunky.
The reverse: an Autumn woman wearing Spring colour. Well, you know how tiny, dinky jewelry on a large-framed body can make the jewelry look smaller and the body bigger? The strength and substance of Autumn colouring forcibly placed Â next to Spring’s lightness and fun makes the face look more solid (I’m trying not to say masculine) and the colours immature and inexpensive. In her right colours, Autumn women project all the feminine beauty that Summer can in Summer colours. I mean, Autumn is Raquel Welch territory. There’s a reason that picture of her wearing a fur bikini was iconic. Wouldn’t have happened in Twiggy psychedelic daisies. Even at a tiny level, this effect takes place. A Soft Summer woman wearing True Summer colours looks a little more muscular or macho somehow.
On a Light Summer, the Bright Winter colour is the only thing you see. Even if it’s only one part of an outfit, it becomes either the only thing you notice or the only thing you don’t notice. Of course, there’s a middle ground, where a dark Soft Summer that’s a bit more saturated could be close-enough-is-good-enough on a Dark Winter.
What’s really good about these relationships is that they get the heat level correct. That’s absolutely huge. It’s amazing how just getting this one colour dimension right changes your whole appearance and the feeling of your appearance. In cool colour, you look grayed and a little cyanotic. The good news is that your transfusion is as easy as changing your shirt. In too warm colour, the skin is yellow, teeth yellow, eyes dull, bone structure is blunted and flat, all true whether it’s your hair, foundation, or clothing. It’s so hard to get cool foundation. All these makeup artists talked companies into yellowing foundation, but it’s way too much. Chanel, Merle Norman, some of the L’Oreal True Match, they make some decent cool choices. Cool foundation, especially Winter’s, is grayish in the bottle.
Some theoretical arguments don’t work well IRL. For instance, you could draw a line in colour space where 2 Seasons meet and there would be some shared coordinates, meaning colour dots belonging in either Season. No right or wrong, it depends on the system and the palette designer. I have never once seen the textile colour that belongs equally well in 2 groups, nor the person in 2 Seasons. This is partly why other PCA systems don’t cross-over well into our Sci\ART based system. Not only is their logic process different to arrive at the Season, but the colours often belong to more than 1 Season. In Sci\ART, at least my vision of it, every colour stands alone and every Season stands alone. That’s a very big deal as distinctions go. Our drapes don’t work with other systems, nor their drapes with ours. You can’t just say, “It’s all colour analysis, should be interchangeable.” Trust me, it ain’t. You’ll get yourself in a mess that will need some fixing. (more about this in the comments to the Career article, one back). I am absolutely not saying that one is righter or wronger because every system and every vision has its merits, just that they don’t mesh together.
We should be defined in our clothing, bringing out the best in each other. Our face should be in front of our clothes and distinct from them. A Bright Winter in True Spring colours is very close to greatness. Except that she is draining the colour from the fabric and backing it up from our awareness. The lower half of her face is disappearing into the garment so her presence is dissolving into her clothing. The face yellows and the drape is already yellow, like a big yellow circle of flatness. There’s no excitement. Another person or analyst might see that as harmony or as a glowing tan effect, but I don’t. Â A difference of opinion perhaps. It depends on your ideal of beauty. You might totally subscribe to Hollywood’s love of a solid yellow wall of hair. That’s great and fine, but I wouldn’t. We don’t all need to line up behind the same idea. There is no right and wrong here.
Summer’s skim milk white looks as cloudy as skim milk white is relative to Winter white, placed under a Winter face. They don’t belong together and push each other even further in opposite directions. They find the thing that makes them most different and widen a little adjustment into a chasm of unbelonging. Under a Summer face, her white looks like white. Just white.
Notice grouchiness, confusion, and doubt. “They don’t make anything in my colours.”
I ask students, “In that colour, how does the person look like he’s feeling?” We sense that he must be feeling in a way that he doesn’t at all. Bright Spring in Light Summer colours can look feeble and frail. Like, “Hi, I’m Ted and I’m exhausted.” No kidding he’s had trouble getting hired. His inner and outer energies come rushing back when he wears what he is. Vitality and health can be as simple as choosing a different T-shirt.
The Dark Winter in Soft Autumn colour announces, “Hi, I’m Ellen and I’m running out of gas. I’m checking out.” Change your shirt. Suddenly, your hair looks clean, more coloured, the skin is tight to the bones, all good. Suddenly, people are more interested in giving you money.
A Dark Autumn wearing Light Spring peach looks like a log cabin painted blossom pink. It’s irrational. A floating, disconnected head. This picture says, “I can’t make reasonable decisions about myself. How likely am I to make them about you?”
Colour analysis matters. Every person should have this information about themselves by the time they are 20. Like a social identity. Social competence has incalculable value in this world. Others decide this about us within about 10 seconds of seeing and greeting.
On a random clothing rack, Soft Summer colours are the grayest relative to all the other colours. The Winter colours are the boldest and darkest. Maybe our character tries to equalize itself, or find balance for the traits that are more extreme in us, so we reach for our opposite. Many a person with Summer’s type of natural colouring wants to project more push by wearing Winter colour. It backfires. Now, the only thing you can see between her nose and toes is the garment. By comparison to the clothing, the woman has faded away even more. Now she looksÂ muted, where in Summer colours, she would look fresh and gorgeous.
She stays with Winter. Hair colour that was fresh, natural, and lively gets is run down and washed out against the Winter background, so she tries a few hair colours. She tries darker eyeliner. But all those bold colours don’t tell the world, “I am audacious and adventurous.” because we can barely register the person at all, nevermind find them daring. The person who is meticulous, tolerant, perceptive, precise, and soft-hearted is telling the world,
“I am unplanned, indiscriminate, possibly abrupt, possibly intense, and possibly odd.”,
so, even before introduction, from the time it took them to get from the door to you, you think, “Note to Self: Prepare. This could go a lot of different ways.”
Ten minutes later, you think, “Wow. This is the nicest person ever. I could talk to them for a week. Didn’t see that coming.”
Once Summer pulls their own colours from the closet, the magic happens. Â The wavelengths synchronize instead of competing with and neutralizing each other. The whole picture unites. Those grayer colours aren’t gray at all on her.Â They’re fully energized, present, and focused, and so is she. Her hair is very colourful and enhancing.
Remember that you are safe. You already look way better than you used to. From here, it just gets better.
Bright on Bright = Normal
Bright colours donâ€™t look overly bright on Bright Seasons. It’s the rest of us on whom they are too strong and more than we are, a distracting challenge to our natural colouring. On non-Brights, the colours say, “Look at me!!! Look at me!!!! Forget about her up there. Look down here where all the action is!!!” We would look drained and erased, worn out from always competing with our clothing. Not so on the Bright colouring. They look normal.
A Bright Winter can drain colour from most any fabric, including Dark Autumn and Dark Winter. She can dull Dark Winter’s strong coral rose into looking like True or Soft Summer colour.Â Under her face, Dark Autumn’s fabulous, rich, full, bronzed raisin looks drab and plain, maybe even a little dirty. Which is how Autumn makeup looks on her face.
Even True Winter, one powerful set of colours, looks washed too many times on a Bright Winter. Plus heavy and blue. No excitement. The whole image drags down. Change the drape. The lights come on. The whole picture lifts up. The lines all focus and turn upwards instead of like melting ice cream.
Many Bright Seasons, Winter and Spring, have beige hair. They contain Spring, after all. They often feel the hair is mousy and blah. It sure is if they’re wearing muted colour. All the life goes out of it. Out comes the hair chemistry. If they’d just change their shirt, the hair would sparkle. Bright Season hair is never ever mousy in correct colour.
Trust. Just let gravity take you. The great clothes and cosmetics will start showing up just because you’ve asked them to. Give it your attention but don’t stress. Effortless effort.
A Bright Season in their own colours doesn’t look like a Hiliter marker or more noticeably coloured than anyone else. Her red just looks like normal red. On someone else, the shirt would walk into the room before she does. It’s only on a Bright that it wouldn’t behave that way.
She doesn’t need to shop for shiny purple or neon pink. She just wants to repeat certain colour properties to look normal. That’s what it takes for her to look like she really looks. Colour analysis will find you a pretty lipstick but it’s way more organic than that. It will find what you really look like, in colour, line, and texture. The feeling in the observer is, “Oh, is that what you really look like? I couldn’t see you before. You were distorted.”
You know how when people take off their glasses and you suddenly get a whole different picture and feeling? It’s like that. An artist could paint you with a thousand different facial expressions. The viewer would expect a thousand different women to own each face. Might as well broadcast the real one.
New Bright Seasons may experience disappointment bordering on fear. She has seen her colours on others and thought, “Oh, that’s just too much.” Yup, on them, it sure is. But the rest of us see those colours on you, not on your hanger or on everyone else in the room, the way you do. On you, we think, “Fine. Nothing to adjust to. Normal. Enough. Good. Interesting. Complete. Balanced. Clear. Healthy. Easy to look at. Nice eyes. That woman gets herself.”
She’s here for us to interact with. Otherwise, she’s partly invisible, a place where many of us feel so much safer and try hard to find a reason to justify staying. And oh, boy, when a PCA is pulling out of your hiding place before you’re ready, it’s panicky. Go with it. It serves nobody to play small.
We compensate in so many ways to disguise or adapt our personality, often without knowing it, often in response to demands of the environment, parenting, society, and all the other pressures coming in. In the never-ending journey toward self-knowledge, surprising examples of being untrue to oneself turn up.
Surrender to stillness. Don’t overthink it. Just be in it.
Easing into the Bright Seasons.
You don’t have to wear the test drapes. They’re just measuring you.
You are not head to toe poster paint as a Bright, or dishwater as a Soft, or maudlin if a Dark. I use words that separate the palette from all the others in the mind of a person considering all 12. I have neglected to clarify that solo on the right wearer will it not look as extreme as the description. It finally makes sense.
Combinations matter. Add zing, your way. Wear dark teal jeans, a peach blouse, and wind a shiny, Chinese silk, peacock-printed scarf round your neck. This is a very different Winter from the other two.
The heat matters to Bright Winter. She needs to add the sunny, the sunbeam. This colouring shadows easily in too-dark or too-blue. Bright Winter is close to Bright Spring. A person could design those colour palettes to be closer to True Winter or Bright Spring and still be within the realm of Bright Winter. Who’s to say either is righter or wronger? They need the heat in their colors.
She forgets that the saturation only means pure pigment. It does not mean vaudeville, hussy, burlesque, or Halloween clothing. Purity of pigment matters. Even in True Winter, a palette of pretty high saturation, her skin will dull to the exact degree that True Winter is dull relative to Bright Winter.
The overall picture is too dark. Bright Winter is significantly lighter than the other Winters. Although the darkness range is similar to that of True Winter, the global impression is definitely lighter. Many of these folks have medium beige hair and blue eyes. Even if hair and eyes are dark, there is a light-bright reflectivity in the skin. Too dark or too blue moves to gaunt very fast here. Black is not automatic at all. Very very unique type of Winter.
She’s got the colours right but the garment lines are too straight and serious, when she’s not linear in her body type. Natural shapes make stripes feel like jailhouse prints. If you’re very rounded in your outlines, you should be shopping at Victoria’s Secret. Straight lines don’t work with your curves, they over-accentuate them. Two differently shaped garments tell a different story, despite being identical in colour.
If your character is flighty and whimsical, banker’s stripes make you wonder if the analyst got your Season wrong because your spare and linear-thinking Bright Winter friend looks so good in them. Your analyst did fine. No two women of the same Season will wear it best in the same way. Your colours are when your clothing, cosmetic, and hair colour journey must begin, but it’s not where it ends.
Her makeup is too strong for her age. If you’re 20, wear sheerer and lighter. Feature definition looks like youth but adapt it for your age.
Her makeup is too dry and opaque. High pigment in transparent application is better.
Shine is better than matte. Satin and frost shine is better than dewy and wet shine if Winter, the reverse if Spring. Distinguish the two types of shine in your Â mind. They look different to the rest of us and tell a different story.
Fun matters. Wear something happy. A polka dot leopard pin. A black watch with a gold daisy motif in the face. Button-down classics drag the whole thing down.
Sweetness. These folks have a cute quality when they’re 70, like kids in an adult body. Add baby peach, yellow, candy colour, peppermint colours. Find colours that would taste good and a little sharp or a little acidic. (But not bitter/vinegar, which is better on Dark Autumn)
Ease in with bigger neutral blocks and smaller colour blocks at first. A Bright might look boring in too much neutral colour, maybe more so if a Natural body type. The 3 Springs are this way, but it extends to Bright Winter, who needs colour in a sharp way, and the Light Summer who is also flattered by colour in an analogous type of scheme (colours that are neighbours on a colour wheel).
Try the bright colours further from the centre in the beginning, as nail polish or a handbag.
Limit to smaller pieces for shine. A watchstrap. All Winter does well in some type and amount of shine.
Explore the lighter colours. I completely disagree with the hair colour myth that lighter hair colour looks younger on all women. I do agree that all colour, and light colour in clothing, looks younger than the Safe Black don’t-notice-me uniform. These can be hard to find and take practice to match. Learn to lay the open palette on the garment rather than matching one little square or dot to anything. That’s what you look like in that garment. Do the light colours of the palette look either wimpy and weak or too strong, sparkly, or separate relative to the garment? If they belong together, the two should just settle in.Â Great clothes are part of you, like a great rider and the horse are part of each other. Picture how it would look if horse and rider were out of stride. That’s how wrong colour feels.
Uplight with pale gold for Spring, in sharper lines if Winter, like NARS Albatross.
Our colour palette is where we begin. From that platform, we find our contrast level. the blonde haired blue eyed Bright Winter is a little more gradual, but still supports black mascara than the Asian Bright Winter.
Melt into a new friendship.
Live with it for a month. Then go back and try on the clothes and cosmetics you wore before. Do they still feel like home?
Just like feeling irritability in a pose, if you allow it quietly and calmly, it Â might flip to its opposite: Peace.