...we are all vulnerable to believing things without using logic or having proper evidence - and it doesn't matter how educated or well read we are. Our brains seem to be hard-wired to have our beliefs come first and explanations for our beliefs second.Cliches in colour analysis are becoming outdated. High time too since women have known them to be fallible since they first reached a wide audience 25 years ago. Brown eyes have to be Winter, Springs are light, Brights have some kind of alien eyes that you could pick out anywhere, Autumns have red hair, are beliefs that simply do not hold true when measured across groups of people.
Bright Spring colouring has contributed much to this worthwhile end. It cannot be pinned down to any mold, standard, or convention. This colouring can appear similar to Light Summer or Dark Autumn commonly, True Winter, Bright Winter, Soft Summer, and True Summer often, and even True and Soft Autumn sometimes.
Soft Summer? Bright Spring is easily confused with Soft Summer? How could that be? Forget about the fact that they are across from each other on a map. Maps are an over-simplified, narrow angle lens on a complex physical entity. A map of a territory is a piece of paper, not mountains and rivers. A colour cycle is an idea, not a human face. Maps are little pictures of a few relationships among many.
Clients often ask how colour analysts make the decisions that they do. Well, that would be like asking your doctor the same thing. Without training in the legal profession, or whatever field, nobody can understand the decision-making process. Colour analysis has been made to appear DIY in the past. Although misleading, it served the purpose of popularizing a product that improves lives.
Bright Spring and True Summer people can look very similar in their colours, with blue-green eyes and sandy brown hair.
Bright Winter and Soft Summer have much in common, despite being in opposite places on the map. Both are cool-neutral in the colour warmth. Both reach a fairly dark endpoint and the members of the Season wear black passably well, but not perfectly. That's a lot of common territory.
If you lay out the colour palettes of these pairs, they look nothing alike. That's because colour palettes are simplified, separated representations of real humans.
Winter is here. Red is necessary. Barbie pink and nectarine are not red enough.
Sometimes, this woman looks quite True Spring, with a lot of yellow in the hair and general lightness about her. The only surface clue to a hint of Winter might be a golden brown eye or a spoke of rust in an aqua eye. She will wear the more orange colours beautifully while the bluer pinks may be too cool in cosmetics only. In apparel, wear every colour in your palette.
The lightest to darkest colour spread, meaning the gray scale or the value scale, spans almost to black and white. That spread should be present in the made up face to express my idea of great makeup: take what you are and make more of it. The size of the area is not important as long as the eye of the viewer can see them at the same time.
Eyeliners are quite dark but not black. Dark gray is good on everyone. Many in this Season have an intensely red-orange colour in hair and eyes, like dark carrot. For them, the Season dark brown is lovely as liner, but it is hard to find and brown becomes muddy so easily that medium gray is often the better all-round choice.
For all 12 Seasons, the white is a beautiful brow bone highlight. Here, it is a clear yellow-green clear white, as buttermilk. Clear peachy pink or pale gold are beautiful, especially for a Season that wears colour so well.
How to swatch makeup to Season was described in the Light Spring article.