If you’re asking me a Q, so are many others. You send me more intelligent and insightful comments and questions than I could ever come up with. What I want more than anything is for the colour analysis industry to make the shopping of every person reading here better. Much better, right now, today.
Answering your Q one email at a time limits how many could benefit. If I’m sent a Q or a comment, it might appear here, always anonymously, and adjusted to reflect the various angles by which people asked the same thing. If that is uncomfortable for you, might be best to ask another source.
1. The Luxury Drapes…I wanted to cry when I saw them. The colours are so gorgeous that I want to take them all home. But they’re expensive. Could you make Personal Luxury drapes smaller?
I hear you and I get it. I get that these are the first piece of consumer freedom you’ve felt in a long time, like waving flags. They are the sails of your very own boat, that you can take wherever you want. I want that freedom for you.
You wouldn’t save enough money to outweigh the negatives. The cost of the fabric would save some money certainly but think about how much 17″ (half the length of a drape) would cost. Not a lot. Maybe averages at $4-6, so over 15 pieces, that’s $60-90.
The expense is not in the fabric. It’s in the time and skill of having two analysts hand pick every colour, one by one. Literally, it takes days.
Then, there’s the production process. Cutting, edge-sealing, grommetting, and stamping is the same for a full or half length piece of fabric. This includes the time, the expertise, and the materials needed.
Shipping cost would reduce by about $20 savings by weight, depending on destination. Everything else about shipping, meaning supplies and time, is the same. Revenue Canada requires that all drapes ship out of Canada.
Also, the sets are customizable. Everyone so far has requested specific colours or colour schemes. Excellent, but I don’t want to be left with half a drape in case it’s not requested again and I can’t include it in an analyst’s set.
You’ve saved maybe $60 or 80. Part of my job is to answer the Q everyone should be asking. What is the loss? If there’s a gain, there’s a loss somewhere.
The more colour you have, the more you can see. I prefer, indeed insist, on large, single colour pieces of fabric to create every optical effect possible. You need drapes that will do that for you to gain the most information.
Half-size drapes would be half the size of a garment. Garments are not napkin sized. To make an outfit, you need to have some large and small blocks in sizes larger than doll cutouts.
I wouldn’t consider Personal drapes smaller than half size. The intention of making these available is in part so you know what an entire garment looks like in a store. Whether a 1 inch square swatch or a 2 inch square bit of fabric, the entire effect isn’t available. It’s hard for anyone to know what the clothing looks like. When Terry and I started the drape enterprise, we were uncertain about what we were looking for in many of the colours, just going by the swatches. When we found it, it was often an accident that got a reaction of “Really? Look at this one, Terry. I’m pretty sure this is what Dark Winter coral actually looks like.”
This is one of the many reasons why I so do not advocate matching clothing to each little square or dot on a fan. There’s not enough colour surface area to compare with a full size garment. Besides, even at 3×3 inches, the production of small squares of fabric becomes ridiculously complex if they are to be beautifully crafted, durable, permanent, sealed, grommetted, and packaged.
When fabric pieces are smaller, you can’t see appreciate their interactions with one another as well. Synchronous wavelength, belonging, stillness, and harmony don’t come through as well. The more colour, the more energy to be felt.
Finally, I don’t believe any more people will buy the drapes if they’re $60 less on a $500 investment.
2. During my PCA, in the Key drapes, the initial gold/silver/brown/black series, I wore black fairly well. But the analyst told me I’m a Soft Summer. Doesn’t wearing black well mean I’m a Winter?
Absolutely not. It means that your skin wants something Winter offers that the comparison drape at the time did not.
Might be darkness (but we can get that in Autumn too). Might be saturation (but Spring has that too). Might be coolness (look to Summer if necessary).
You get the pattern. Any colour dimension can be found in any 2 True Seasons. Any 2 True Seasons share 1 colour dimension and differ in the other 2. It’s like those “If Jane has 2 jellybeans and gives Tom 1…” puzzles.
So a Soft Summer might wear black as well or better than silver (her skin tone wants the darkness of black), black better than Autumn (skin wants some coolness that black gives her), and black better than Spring gold (skin wants darker and cooler). But she ain’t no Winter. And I don’t vote with the Key drapes because I fear that once a winner is picked, our brain says, “There. Done. Got what I came for. Move switch to OFF.” and too many other clues are left behind.
Second thing: The Key drapes are way way way too early to know about Seasons. The analyst doesn’t even know the face yet. It takes a solid 15-30 minutes to see what a given face will do in colours. The Key drapes are about “What’s going to change, where exactly, and how much?”
A Light Summer can wear black at times DEPENDING on what the contest is. Her skin likes the saturation and the coolness. If the comparison is with Autumn, her skin might find several things in black to like. Now if the comparison is between black and silver, there may still be good stuff happening in black but less so.
Our eyes deceive us. Everywhere, all day long. We truly know not what we see. Neuroscientists write books about our visual inaccuracies. What we think about colour is 100% dependent on what the comparison is at the moment. You make a decision about one drape’s effects. Compare it to something else, whole different decision. That’s why it’s so important to check every decision by coming at it from several angles. Never assume you read it right the first time.
I could look at you and paint what I see. Right there, in that chair, with those clothes and that hair, and that light coming in. Or even surrounded by neutral gray. Those could be your body colours, the ones you repeat when you shop.
What if I dislike yellow to the point of feeling nauseated or weirdly intimidated? The analyst is human too. Bound the influence what I paint. Gotta get myself out the way and find some way to measure objectively. Very hard for humans to do.
What if I got the first colour wrong, then rejected colour 2 because it didn’t look pretty with colour 1, while colour 2 was the correct one? Colours 3, 4, and 5 must now be influenced. Errors carry forward, so there has to be a built-in way to recheck every previous decision. This is not just my opinion. It’s how humans think.
With any 2 drapes, our human eyes often grab the first one and say “OK, got it. This is normal and right and real.” and proceed to judge everything back to that. If the drapes had landed in the reverse order, we would have judged oppositely. Never ever assume you read it right from just one comparison. Keep moving around the problem and look at every angle, almost like fooling your eyes into making the right call. Keep confusing them so they keep adapting, like any muscle or neuropathway, to develop resilience, plasticity, and the highest outcome.
Nothing wrong with paintings. They can bring us to tears, a reunion with some part of ourselves or our past. They’re also frozen in time. The subject’s and the painter’s. You know colour analysis is a spiritual journey for me, because that’s what it has been to me. I want colours that give me somewhere to grow into, saving parts of myself I don’t know about today.
It’s all inside us, past, present, future. I want a bridge to the stuff that I can’t access yet, stuff that will be there waiting for me when I’m ready, that I trust to be real and true. Being frozen in my today feels too confining and kind of terrifying. I’m not certain who it was said “Know that one thing by which everything else can be known.” For me and many others, it’s colour that acts as that metaphor. Doesn’t have to be for you, I just hope you find what it is. Seeing it in one place can help us recognize it in another. For those of us who view the world symbolically, everything is a metaphor. Favourite piece of poetry:
To see a World in a Grain of Sand,
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand,
And Eternity in an hour.
– William Blake
How seriously hard is connecting to the truth of you, with no warping by media or any other person? We devote our lives to it. We lose it and find it. Something twists and it’s gone again. Once you find it, let it out. Sing your own song. Nothing feels better. It is the voice the Universe hears most clearly as you work together to move your life forward.
Makes me think of this. This is why I and those I have taught became colour analysts. It is how God made us to spread love in the world.
If not you, then who?
If not now, then when?