Pardon, but what 5 Autumns?
In 12 Seasonal Colour Analysis, we have Soft, True, and Dark Autumn, the strong Autumn blends.
The mild Autumn blends include Soft Summer and Dark Winter.
1 True Season, and 4 Neutral Seasons all comprise some Autumn colour influence.
One of the most common Autumn misconceptions is the copper red hair. Usually, these people have brown hair. Bernice Kentner of Color Me A Season, whom I regard as a colour analysis genius, said the same thing. Natural red hair is most often found in Winter and Spring. That said, Autumn women can colour their hair to various shades of red very attractively.
The Autumn copper association is often extended to include clothing colours, skin undertones, and makeup colours. This part is true.
The gold used to warm Autumn colours, a product of yellow and red, is not sufficient to attain copper’s heat till the colouring is among the strong Autumn influence.
Moving through the Season progression, we can start at True Summer. No orange, gold, or yellow warms the colours. A pastel yellow is present in the palette, very cool and dusty. The browns are taupe-gray and the grays are blueish or pinkish.
As Autumn starts phasing in, we move to Soft Summer. A little gold is added, in a quantity so small that it looks like neutral brown, not orange yet, not even amber. The blue undertone is less than in True Summer. The colours appear to have a faint tan or a slight antiquing effect.
Soft Autumn comes along next. We see numerous soft amber browns in the palette. Yellows re-emerge, where True Summer barely had any, golden but soft, as broom yellow and butterscotch. This is the beginning of the metallic quality we talk about in the skin and hair of Autumn people. Not so much a tan, it resides much more in the skin than on it. You can sense this in the way the skin reflects light.
Finally, True Autumn. Now the undercurrent is truly orange. Brown, remember, is just dark orange. This is an orangey brown. It is in the skin and the eye colour.
Moving to Dark Autumn, a trace of Winter is felt. Winter colours are cooler and bring in more red, the essential colour of the Winter group. The result is the red-orange undertone that defines the perfect disappearing blush and lipstick on Dark Autumn.
Since Winter is dark, we must add another Winter effect for Dark Winter : the addition of perceptible black. What orange remains is turning neutral brown again, like it was in Soft Summer, but a darker version caused by the black.
Now, we leave Autumn altogether and arrive at True Winter. Perceptible orange is gone again. Why then is natural red hair so often found among Winter colouring, especially True and Bright?
Think of the swatch palette as the paintbox that filled in your lines when you were created. Where each colour landed in each member of the Season is not important, meaning some got the green in the eyes, some got the blue. The Winter group pigments are very close to the primary colours. Mixing yellow and red creates orange. Some got the orange in the hair. While it doesn’t appear in the Sci\ART palettes, True Winter does have an orange that would accord with the colour dimensions of the entire palette.
Here is one possible sequence of heat as it appears in the Autumn groups.
Soft Summer hair is often excessively lightened with a colour that is too light and yellow. The woman senses that she is has some lightness and her hair is often medium brown. The more flattering choice would have been light taupe colours. They work better with the skin and the Soft Summer wardrobe.
Also common in Soft Summer is to overestimate the natural heat level and add copper and toffee to the hair. The hair colour tends to take over the face in the eye of the beholder. The woman tries to balance it with too warm foundation and brighter clothing. In the process, her face and her presence are receding while her decoration takes the stage.
A Soft Autumn can too easily be put in too red hair. Unless Nature gave you red, it is very hard to get right from a bottle, not unlike hoping to replicate your childhood colour. More successful are dusty apricot, butterscotch, and tawny light browns. The range of natural hair darkness levels is very wide here, meaning that the highlight must be chosen to work with the native hair colour.
True Autumn in light golden or beige-blond hair is visually flat. Warmth and rich colour look far more youthful and smoothing to the skin. Highlights, lowlights, or other bizarre f/x are usually unnecessary. Shine products in a gorgeous chestnut brown is stunning. Highlights can be successful, as Autumn’s energy is very natural in that random way that highlights can be. Shades like penny, squash, and rich rust can be good. Light rust is not the best choice. The Autumn who is flattered by blonde hair has yet to be seen.
Dark Autumn often adds a red rinse, as Julia Roberts in the movie Pretty Woman. If the red is too cool, like red wine, it can be very artificial. Auburn and dark rust are better, quite beautiful with the cosmetics that most enhance the natural pigments in the skin.
Dark Winter should do what all Winters do. Think twice before lightening hair. They can have a dark force to be reckoned with. Breaking it up with frosted tips, well, I would rather have the force. The skin-perfecting hair colour is a dark neutral brown, most of the time, the level of darkness being variable.
Nature always gives you hair colour that is your skin’s perfection. They accord automatically. Your natural colour is always your best base colour.