Bright Winter Q and A

I seem to be in a groove of seeing so many Bright Winters lately that I figure I’m still supposed to write about it.

The reaction a person has to learning that their natural colouring falls into the Bright Winter group is either delight or despair. Seldom is there anything in between. The reason for most Season misgivings comes from misunderstanding the colours or the analysis process.

Some of the information below may be hard to imagine. It’s the only way I know to explain it. (Analyst who were trained by me will receive the discussion below soon in their Review Topics documents – and it will be even more technical.)

Here some come concerns Bright Winters may have:

Q: If I’m a Bright Winter, why do I look too blue in some of the Bright Winter drapes?

Short A: Because you’re warmer than the drape.

Long A: Depending on the person, this type of colouring is extremely finely adjusted and very sensitive to excessive darkness, redness, and or blueness. Some people handle the blue very well, almost as cool as True Winter can handle, but they become gaunt in black. Others can develop red spots in the cheeks, like a feverish face, in too much blue-red influence but they have no problem with darkness.

To match the exact coolness level of every Bright Winter, the analyst would need approximately 4 blue drapes. And then 4 reds, 4 greens. And then repeat that for all the possible tolerances to hue, value, and chroma of every person in all 12 Seasons. Not reasonable.

Also not necessary. The analyst with a comprehensive understanding of the analysis process is prepared to choose the Season because it’s better than the others, not necessarily it’s the best possible choice of this colour on this person. The client shouldn’t expect every Bright Winter drape to be perfection on every Bright Winter face. You find yourself inside your correct colour parameters. Sometimes, an analyst’s decision feels like a compromise and doesn’t make sense, but it’s still the best and correct decision of the comparison.

I am a Dark Winter.

I need makeup to wear black. Makes sense, black is only automatic on True Winter.

I can wear some medium and dark True Summer colour. Makes sense, True Summer is a little warmer and more muted than True Winter. So is Dark Winter.

True Spring colours clear my eyes better than True Autumn, if the two are being compared. Makes sense, Winter is looking for more clarity than Autumn provides.

I love and can wear Dark Autumn dark colours. Makes sense, I’m more warm and muted than many Dark Winters and darker colours are pretty easy on Dark Seasons.

None of that makes me a Spring, Summer, or Autumn.

If all people were exactly the same within one Season, then all the women of that Season could wear exactly the same lipsticks equally. Not the truth at all. My perfect lipstick colour is dull and disappearing on a cooler, clearer Dark Winter. There are ranges inside each Season. If the information clues were picked up along the analysis path, the right decision will be made at the end. The analyst doesn’t need to have my perfect Dark Winter blue drape in her set to know I am a Dark Winter. There might be versions of blue that I would wear a lot better than the blue drape she might have, but she learned my face, did her comparisons, knew what to look for and how to interpret it. A Season decision is a moving target until the very last comparison.

The Test Drapes are special. They’re measuring and comparing. Don’t look for home in them. Don’t expect to be finally and ultimately perfected. You need only be better than in any other. The same exquisite tolerance to colour parameters happens in all Seasons, but because Winter’s scale is so big and this colouring quite delicate, the disparity gets noticed more.

The public might not always understand. Don’t pay too much attention to the chat room group. They can’t know how it works because they’ve never been shown. All they see is the end result. One appendectomy can look like another if all you see are the people 3 weeks later. What happened in between may be wildly different. One person might never have had appendicitis in the first place. One might finally get rid of abdominal pain that’s haunted her for months. Another might be sure the surgeon made a mistake, but the fact is that sutures are more irritating to her tissues than the average while the surgical technique was exemplary. Her chat room group wouldn’t know any of that, but they’d make judgments and give opinions anyhow in an effort to support her.


Photo: helen25
Photo: helen25

clear water, close to white, more icy (Winter)


Q: Why is the bottom half of the face so darkened by black if I am Winter?

Short A: This is a WAY lighter Winter. Even True Winter isn’t all that dark. There are many blonde and light-brown haired True Winters with light eyes. Many.

Long A: Nothing applies to everybody. Some Bright Winters, even blonde haired, blue-eyed persons, are fine with darkness. Others who might be darker to look at will have a definite upper limit for darkness. Some can manage strong darkness in blue or green, but begin having detracting optical effects in the appearance at medium gray. Some are fine with shiny black, as long as True Winter blue is extracted, but are not good in matte black. Texture matters to a composition as much as line and colour do; therefore, texture matters in personal colour analysis (PCA).

The only more ghoulish Goth than Bright Winter would be the Light, True, and Bright Spring. All four types of natural colouring, or Season, or Tone, look light, bright, and clean. What about that sounds Goth? They conflict with the dark, depressing, serious Goth look – OTOH, maybe Goth are supposed to look compromised. Glowing and Goth doesn’t match. Bright Seasons are glowy. That’s how their skin reflects light. They look too healthy and vital for Gothness.

From the document that I send my clients:

Bright Winter epitomizes the sugar frosting of snow and sunlight. The innocent fairy tale character could wear shimmery violet-pink eyeshadow, blush, and lipgloss, adding even more crispness and show biz with near black eyeliner and big lashes.

Many Bright Winters are blonde and blue-eyed, with a feeling of girl-next-door, like the stereotypic Light Summer, except for the strong, clear, sparking eyes. Other lighter Bright Winters look Scandinavian/Nordic Ice Princess. Although some Bright Springs have the coolness that feels like royal distance, most are more informal, bubbly, chatty, rounded in their edges, and natural in their energy.

Photo: quil
Photo: quil

more pigment, more gray, closer to pastel (more Summer) – where does icy end and pastel begin?


Q: So Christine, you’re saying that all Brights can always take any level of saturation?

Short A: There is no Always, Must, Should, or Never in human colouring.

Long A: Textiles can be saturated beyond what you’d find in a human being. There are colours that will overwhelm even a Bright. I am saying that on a comparative scale of humans, Brights are most harmonized and flattered in the purest pigments.

Photo: noohoo
Photo: noohoo

icy grays made of B&W (Winter eyes)


Q: What if you said I’m a Bright Winter, which still I don’t believe BTW, and I look really dark?

 Short A: Then you are a Bright Winter who looks dark.

Long A: In the colour analyst training course, my students and I spend our first morning proving to ourselves that our eyes are rather clueless about looking at paint chips and knowing their colour dimensions. I guess we could see which is lighter between 2 colours of equal saturation. Change the saturation setting of one paint chip and we lose it. We guess wrong. If we can’t guess a paint chip, how much harder must it be to gauge a human face just by looking. You need a way to measure, a.k.a. drapes.

You look dark, fine. Your most important colour attribute is still that your pigmentation is very clean and clear. You are more clear than you are dark, but no rule says you can’t be both to some degree. It’s knowing the amount of each one relative to the other that’s tricky.

Photo:  mishel_sun
Photo: mishel_sun

pastel means more pigment + more gray (Summer eyes) – where’s the dividing line between icy and pastel? is there one?


Q: I read RTYNC and Bright Winter felt too zingy. I’m not electric and flashy.

Short A: You can’t see yourself. Compared to a range of other humans, your colouring feels more electric than a foggy day would. I was trying to make a comparison. Who do you know who looks foggy?

Long A: Ignore RTYNC (the blue book over in the right column). I can’t write the sequel because I created what the colour world needed least, 12 more stereotypes. Back then, I knew half what I know today. Maybe there’s another book taking shape that describes the real world better, the enormous variety, how people of the same Season can look incredibly different.

Why write about Seasons at all? Because it’s fun and interesting for us humans to look at one another and see all the possibilities. The stereotypes are like your horoscope. Kathryn Kalisz (founder of the Sci\ART system of PCA) also wrote about how people in the Seasons can look. I asked her once what Season someone was. She laughed and said in the most cheerful voice, “I have absolutely no idea! Until they’re in my chair.”

That book was only intended to help you see who you’re not, give a sense of how those colour energies made me feel so you could ask yourself the same thing, and give you 12 approximate palettes to make comparisons so you don’t have to own 12 swatch books. It got used too literally. The disclaimer at the front says that you will not be able to find yourself accurately, or at all. Should have been in big red print.


Photo: robertovm
Photo: robertovm



The Light Summer to Bright Winter Spectrum

This picture of Julianne Hough (said “huff”) came my way. It reminded me of a friend.

After thinking about it a bit, I realized that the face is like an exaggerated Reese Witherspoon.

Thing is, Julianne can do this. Is the dress wearing her? Is the makeup stronger than she is? By a lot or a little? If the hair were deeper, would she balance the other colours better? The balance is a little off but it’s hard to know what needs fixing and what doesn’t. Too many unpredictable variables. Just like draping a face. Reese were done like this, would the balance be off by less or by more?

Julianne looks to be in that girl-next-door Bright Winter to Light Summer spectrum. Except the eyes. Those eyes are crystal clear. Who knows what her natural hair colour is? From the gallery of images, I see that too yellow hair makes her face too yellow. Too light hair makes her face look puffed with flour. If you think of Bill Gates as average Light Summer colouring, those eyes would be wild in his face.

Reese seems to me a Light Summer. This makes sense. Winter is like an exaggerated Summer. The Warm Seasons are different. Autumn is not a continuation of Spring. It’s a whole different type of warmth. In a Season circle or progression, I would not Spring and Autumn side by side; I’d put them opposite one another.


Photo: J-Stuart
Photo: J-Stuart

the blue – too much pigment for icy; too pure pigment for pastel > probably not strong Winter or Summer ; we see this colour in Bright Spring eyes


Q: If Winter is an exaggerated Summer, why not have a Season in between? Like a continuation between Light Summer and Bright Winter, or True Summer and True Winter?

Short A: You’d get no new colours that weren’t already spoken for in one of the Seasons. I see the brilliance of the Sci\ART method of PCA, a genius that I am more in awe of with each client, as 12 stand alone groups. It makes their unique radiances strong and distinct. Smudging them into one another would dilute that and make analysis decisions much harder. Can a client blur them into each other? Absolutely.

Long A: Because real people don’t drape in between Summer and Winter to my eyes, though other analysts that I respect gigantically might not agree. A Soft Summer still looks better in Summer drapes, just a little weak. A Dark Winter still does better in Winter drapes overall if you know what to look for.

Also, making a cool Season overlap into a cool Season is in contradiction with the physics of light. That’s not how sunlight illuminates objects on our planet as interpreted by our eyes and brains.

Would the Bright Winter person look better True Winter’s drapes than True Summer’s drapes? Not always that easy. The light Bright Winter person’s face loves the lightness of Summer.

We can’t look at faces and know if they’re lighter than saturated, more cool than light, more saturated than warm, etc. Our eyes are not capable. We have to put a quantitative measuring system in between. Those are the drapes. Even then, in the early part of the analysis, all the features don’t behave the same way. That only happens at the end.

You will be wildly surprised at what your eyes will see happen with the drapes. The rug will get yanked out from under the feet of what you think Seasons have to look like. There are a lot of technical reasons for decision-making that Terry Wildfong and I train our students in carefully and thoroughly because we measure many markers at once in each face, with each new colour change.

The analyst evaluates many markers, related to line, colour, and texture, and makes a better-than choice. The markers will not be the same in every face. A Dark Winter man may wear Bright Winter saturation fairly well if his colouring is intense, but his face might look very oily. Another Dark Winter  man will lose eye energy in Bright Winter drapes but the complexion reflects light much the same between the two. We take a lot of time to learn every face because each reacts to colour in a unique and individual way.

And it can still be very difficult. At this point in my career, although I retain near dismay for how complex a PCA can be, I’m usually pretty confident in my Season decision. I saw a woman recently. We went between Bright and Dark Winter. Back and forth, back and forth. Test Drapes, Luxury Drapes, makeup, back and forth, back and forth. In the end, I decided on Bright for a selection of reasons. Not just one reason. Many reasons, which I itemized in the documents I sent her. All the analyst can say sometimes is, “This is how I saw you today. And this why.”

Was I correct? I hope so. Was she so difficult because she was extraordinarily beautiful, like trying to make a child look bad? Was it because she was of darker complexion? I’ve invited her back to model for a training course because I need fresh eyes, a different day, and some outside opinions. Some puzzles are more enigmatic.

Sometimes, facial features are very tough to prioritize. We see good and bad things in 2 Seasons in most every comparison until we’re at or near the end. This is normal and expected.

Photo: idigital
Photo: idigital

many a Dark Season eye


Students ask,

Q: Which observation is most important?

Short A: Depends. Every face is different.

Long A: There’s no such thing as most important. Your eyes are not more important than your mouth. A jaundiced face isn’t more important than an unfocused face. It’s the totality of a face. The answer would be different for every client. Even a well-trained or very experienced analyst can be perplexed.

If a client is much more comfortable in one Season, the best decision might be to have them wear it for a while. Throw out nothing. Buy a gloss and a few inexpensive T-shirts. Adjust the hair colour. In a few months, have another draping.



22 thoughts on “Bright Winter Q and A”

  1. Helpful. Oh, and thanks for putting the season under some of the pictures, Christine. It would be great, at least for me, if you always did that. It’s not always clear to me what season you mean by each nature picture.

    I’m still trying to live as a soft autumn for a while as a test. Still very conflicted. It’s helpful that you describe how even as a Dark Winter you look fine at times in various other colors. I think I still look fine in selected colors from DA, TA and Spring. And even black. I see more and more, though, that SA, DA and TA don’t mix very well as a wardrobe. In the past I always felt so “muddy” when I wore different Autumn colors together. It’s why I gravitated to black and off-white. Do I blend with the world around me in a good way in SA, or disappear in it like a chameleon adjusts to its background? Even now, SA colors together (or at least my attempt of them – I might be doing it wrong) make me feel so blah. But I know I don’t see what others see, so I don’t know.

    But I want to have fewer clothes but that go together; a more minimalist wardrobe. Sticking to one palette would assure that, it seems.

    Thanks for writing and for listening.

  2. Happy to, Pat. Same questions being answered? I need specific topics to address to get an article written, otherwise, I feel like I’m rambling and it never gets posted.

  3. I read this a few days ago and have been processing a response…
    -Are BWs perhaps so finely adjusted because of the “translucent skin” quality I keep hearing about?
    -I don’t understand about black; it’s “only automatic on TW,” but it’s in all the Winter palettes, and some do it better than others. But no TWs need makeup to do black?

    This gets into my main question here – are there general similarities between all TWs, or all BWs, things that will not be true of folks in other seasons? (Can you make accurate generalizations about all Winters, or all Springs? Is it useful to know you’re a Winter but not what sort?) Or is there a spectrum of people and we divide it into 12 parts, and the divisions are pretty much placeholders so we can make sense of it but a BW close to TW will have more in common with her teeny-bit-warmish TW neighbor than the BW-close-to-BSp? If that makes sense.
    -On winter being “dark,” when there are plenty of blonde and fair TWs and BWs and even DWs don’t necessarily look all that dark – *the palettes are dark, not (always or obviously) the people.* I wish I had read this at the beginning of my color journey, because maybe I would have skipped the angst of thinking I was a summer and enduring the fuzzy awkwardness of being a (very fair, blue-eyed, medium cool-haired) BW in TSu clothes.
    -I appreciate that the drapes and an analyst’s training make measuring color parameters much easier and faster. But what you describe at the end, about picking something and living with it for awhile and seeing how it fits…sounds an awful lot like what I and many folks without analyst access have done in figuring our own seasons. It takes a lot longer and I’m sure there’s more frustration, but really it’s the same thing – comparing yourself to the colors as best you can (and this is why lip draping is popular – not because it works brilliantly, but because it’s easy to get a rec for a fan-matched color that you can find cheap at the corner CVS, while fan-matched textiles are harder to find – Truth Is Beauty’s paint chips are the best self-draping tool I’ve run into), eliminating possibilities and eventually you buy a fan and live with it. I can’t tell you how often during that process I wished I could sit in a chair for a few hours and watch while a knowledgeable someone with the proper tools figured the dang thing out for me, but at the same time it sounds like my level of confidence in the result I found is about the same as those who have been draped. Perhaps that impression is wrong, or maybe I got the easy face or made a lucky guess or have better than average visual faculties, or I’m just that cocky (or naive!) but I do wonder.
    I…may be back with more, I have a lot of thoughts.

  4. Oh! You mentioned RTYNC – I haven’t read it, but I have read your archives where you do a lot of talking about the images, personalities, etc. – what about the textures, fabrics, styles of makeup? I can see fuzzier edges being something that visually goes better with softer coloring.

    I was in a discussion that I thought might make you laugh to read it – bunch of us, mamas of babies, were just starting to learn about PCA and someone posted a bit about your descriptions of personae for the seasons and several folks kind of laughed it off, it’s like a horoscope, most people are going to see something in themselves, ha ha but seriously…and then ALL THE WINTERS were like “…actually that sounds pretty right.”

  5. Dear Christine

    Thank you for your good post. As you may know I have recently been draped for the 3rd time. All IRL and the first 2 Sci/Art and lately your 12tone system which I believe we can say is very close to Sci/Art in process though perhaps differing somewhat in the actual drapes.

    It was a very successful draping experience. I would like to congratulate you on your new students. First of all it was now possible for me to be draped in my own country, Denmark. Secondly the analyst took plenty of time – which was so very important, since this was the 3rd time and I had very different results: Bright spring and Soft summer.

    I am TW bordering with BW or vice versa. I have decided to come back for a “check up” in a couple of months. I am not at all disappointed that we are not 100% sure if it is TW or BW or just in between the two. I knew that I would be difficult. She knew too. But this time round I saw and understood what was going on in the mirror. When we narrowed it down to winter I was so relieved that I could have cried had it been another more sensitive day.
    Peeling away DW from the choices was not easy. But we did see (I even saw it first – ergo I have learned a lot) some fuzziness along the jawline. But many of those DW colours are beautiful on me. Especially the reds. The blues – to our surprise need more saturation. It is all comparative.
    The analysis brought so much out and it has been so rewarding that I might write you a separate story about it. I still find peoples personal colour journey valuable to read.

    Christine, I take it from the above post, that from time to time you get some heat for the book you wrote. I want you to know that the book has been helpful for me on my journey. I think it is recommendable. There are wonderful observations written down in this book. They have been helpful for me. But no two people are alike. And there is no such thing as an analyst who can figure everything out for you. Some people want the short-cuts – but the long tour offers different views and more knowledge. Kibbe types were really easy for me. It took a few reads on the internet and I knew what I was. A soft dramatic. No need to question it. Colours have been way more difficult. Now which of the two do I know the most about today? Colours of course. Where is my eye the most trained today? Colours of course.

    Christine, I also want to thank you for hanging on to your guts and opening up the debate about all those of us who get wrong/different results. I was and still am really really glad you did that. Seeing what I saw in my last draping session also made me realized that I almost missed it – I almost missed the entire thing. I almost gave up. I was beginning to think that maybe it was just a whole lot of nothing puffed up. I was looking into 16 seasons and a lot of other things hoping to find the truth. Searching for something that would encompass who I am and add more knowledge, more truth and depth to the little I did know and had already seen. Today I do not believe there is a need for 16 seasons. There is however a need to be more thorough, more diligent, going the extra mile. When more people are correctly draped, more will want what those lucky people have.

    Kind regards and thank you for all your effort and all those observations that you make available to us here.

  6. Thanks for another interesting article. It’s interesting to hear about the variety you perceive within the seasons. I can relate to what you’re saying about bw skin being very finely tuned, and have seen this myself as a bsp. I’ve tried several of the lipstick recommendations for bsp and found them either severe looking or too cool. On the other hand, too light is opaque and lifeless. I am still struggling to find makeup with the correct degree of warmth and saturation. Texture also seems to matter a whole lot.

    In terms of article suggestions, I’d love to hear more about the variety you see within bsp. I would also be interested to hear colour matching/identifying suggestions – I’m looking for saturation but this seems to keep leading me to too cool winter colours, which make the colours of the fan look soft and pastel in comparison. I am struggling to identify saturation +neutral warm in stores/online. A bsp looking “normal” article could be another possibility
    I would especially like to see hear your thoughts on different makeup looks for bsp.

    Just as an aside, with the JH picture, I wonder if the colours are too blued for her? To my eye the makeup appears a little hard looking, with perhaps too much contrast and sharpness of edge, although the hair colour could be confusing things. It’s quite an interesting one to analyse anyway.

  7. I thank you, AC. I question it all sometimes too. But great colour analysis is life changing. It does work. Kathryn’s foundation, like Kibbe’s, is genius. It is sensible, rational, provable, teachable, reproducible. Both can be added to so they become even more understandable and can reach more and more people, to better explain the system, not change the principle. Body line and colour are so powerful that they should be accessible to all people. They give us identity. We continue to study the colour reactions of human skin, to make world class tools, to build on what is known.

  8. Texture? Sure, absolutely. An image is its lines, colours, and textures. The Best Skin Finish articles address some Q you have. Basically, as you say, makeup has to reflect light in the same way the skin does or it makes no sense on the face.
    The personalities, yes. People almost tell you their Season, no matter what they’re talking about at the moment.

  9. TW wears black with no detracting optical effects of any sort. BW and DW don’t, though not always the same detractions. Not sure why BW is so fine-tuned. Their skin is smooth and glowing but not translucent quite, maybe some would call it that. Yes, there are generalizations, but at a level of accuracy about colour reaction that most folks never see in the real world. Also, most folks have never many correct BW or TW or whatever to see what the real common denominators are. Every person can hold a different place in the spectrum of every Season – meaning, BW holds a group of positions in colour space that drift between TW and BSp.
    Your last sentence, “Perhaps that impression…” – you answered the Q better than I could. The answer is indeed one of the options you mention :), and may be a different answer for different people.

  10. Happy to, Pat, but I don’t have (or get asked) these Q from B Sp. What are your Q exactly? Give me a start point.

  11. Christine, I hope you know how exciting it is for us when you post a new and detailed article like this. Here’s my two penn’orth: I know I know the mantra, but it seems you’re giving with one hand and taking with t’other- lol! Just when I think I might be closer to closure- here come those pesky sparkling eyes again. The Brights who ‘look’ light, bright and clear; do you mean they look so only in their colours? Black is only automatic on a TW – if I read it earlier I forgot. But it seems to be automatic on me ! Despite the confusion over some very widespread seasons- black seems uncontestable (IMO plus feedback) The revelation about warm seasons’ different energy is amazing. Wonder though what you mean about the wheel- W and S , like A and Sp are opposite each other anyway, aren’t they?

  12. Christine, I have watched you GROW in knowledge and understanding right before my eyes! Thank you for this insightful article. :)

  13. P.S. Christine, I have had a thought about something you touched on to do with color temperature. You mentioned that TSum is slightly warmer than TW. Sandy Dumont, the Image Architect, believes that most human coloring is cool rather than warm. I’m starting to agree with her on that point.

    What has struck me recently is that rather than saying there are x amount of coolish seasons and x amount of warmish seasons is that there really seems to be a sort of human “freezing point” corresponding to 0 degrees on the Celsius scale. TW seems to be the “freezing point” with amounts of warmth and sunshine added thereafter in the other seasons. At least, it often seems so…or is that too simplistic?

  14. I think Kathryn means human UNDERtone being cool , coming from vein presence, with skin overtone the seasonal deciding factor- as we’ve been discussing on Different PCAs etc.

  15. This is very interesting, I enjoyed this article alot. Now I have a question that may seem quite dumb. How do you tell if your cool or warm? I’ve done the silver and gold test and I am at a loss. I look pale in muted summer colors. I look horrid and sick in just about all beiges especially mustard and camel. But I look good in many oranges,yellows,hot pink,turquoise,greens???? *scratches head and grimances*

  16. Christine regarding your first Q&A in this article – looking too blue … I suppose then that the other version could be true too: looking a bit too yellow in the warmer BW drapes – in the case that one is on the cool side of BW?
    I could wear the cooler ones fine. And black is as close to automatic as can be. No negative effect what so ever – with or without make up – despite fair light skin and pale green eyes.

  17. It’s certainly possible, AC, but it would be slight. This colouring is a little unpredictable in what it will and won’t tolerate – for instance, on a cool BW, the yellow could be too warm or it could be just fine.

  18. So, about a bright winter who gets detracting effects in the dark grays and blacks above the medium gray color: Should she not use black and dark grey at all? Or use them in pants, skirts, belt, shoes, purse? Or just tiny bits in prints?

    If it matters, I’m talking about someone with black eyelashes, very dark brown-black hair (black in shadows) and porcelain skin and light/bright eyes.


  19. Every person will be a little different, Denise. Overall, I agree with all the suggestions you’ve given. I find many Springs, actually many Seasons, can handle more darkness in colours (blue, purple, green) than in versions of gray/black. Adding shine to the gray/black can help too.

  20. About goth look… I always thought Goth is supposed to look ‘compromised’. But this may be my opinion. Maybe not so much sick as a bit theatrical, overdone. However, I always thought that people who look very natural in a lot of dark colours (so Dark types) don’t make spectacular Goths, because they simply look normal, ordinary in those colours. Too healthy. They can still rock the got hstyle, but they need to be more creative than just put black and dark everywhere. Imho actually for True and Bright Winters, also Bright Springs it’s easiest to pull off Goth look effortlessly – just put much black around the eye, dark lipstick and voila. It’s too much to look natural, but not enough to make us look really bad. It just give that dramatic, artificial effect of going one step away from one’s season. When I think about people overwhelmed by goth style, I reminiscence mostly people with delicate, probably low-contrast type of beauty, they are truly overwhelmed with strong colours in make up or much black in clothing.

    “The only more ghoulish Goth than Bright Winter would be the Light, True, and Bright Spring. All four types of natural colouring, or Season, or Tone, look light, bright, and clean. What about that sounds Goth? They conflict with the dark, depressing, serious Goth look – OTOH, maybe Goth are supposed to look compromised. Glowing and Goth doesn’t match. Bright Seasons are glowy. That’s how their skin reflects light. They look too healthy and vital for Gothness.”

Leave a Reply

All mention of copyrighted terms and content from any book, website, or organization will be edited to include only the company name to avoid copyright violation on the part of 12 Blueprints. Thank you.

Your email address will not be published. Required fields are marked *