Silver Hair and A Powerful Presence

Something I’ve noticed over the past year. She is always a woman between 55 and 65. She is most often one of the 5 Winter blends, simply because the visual effect I’m about to describe is more visible in that natural colouring, but it happens in all 12 groups or Seasons. In 12 Season personal colour analysis (PCA), the 5 Winters include True, Dark, and Bright Winter, Bright Spring and Dark Autumn.

When we meet, the closest description is that the clothes she wears have faded away. By comparison, the woman isn’t faded at all. Her face is lively, her character sparkly. Her hair is silver or in the process of becoming. There’s lots of life in her eyes and her conversation. Why can’t I see her clothes or makeup?

Photo: sfireoved
Photo: sfireoved

Beyond cute, but are those eyes real? Would Nature on her own have paired these windows with this house? Do coloured contacts look easy and calm or do they (do you) feel manipulated?


Photo: klssmith77
Photo: klssmith77

This character ‘s windows balance the house.


Fading Away

It’s the clothes. They make no impression, as if there are no clothes. I’m used to meeting women who dress very neutrally on the day they have their colouring analyzed. I’m used to outfits where one or two items might be great, but the rest are too much or not enough in some way, though I don’t know how before we see what happens with the drapes. Without PCA, nobody can get every item to be in perfect harmony with every other.

When we visit at the beginning of the session, it takes too much effort to notice the clothing, which you can’t do and stay current in the conversation.  It’s too distracting to keep going back and forth. Speaking with her while looking at her feels like listening to English and answering in German.

You have to tune out thinking about the clothing out to stay sane. Whatever those clothes cost, they might as well not be there. The head feels connected to a sheer, pale beige shirt and acid-washed light blue pants. The image is so unbalanced that one suspects it can only be intentional. Like the day Lady Gaga was interviewed on 60 Minutes in a skin coloured bathing suit/bustier sort of affair. It was a head with no body, on purpose. An interesting visual and psychological manipulation, of which Gaga is quite masterful.

Our woman often says, “I don’t get service in stores.” She doesn’t mean good or bad. She means not any. The store staff isn’t rude. They literally can’t see her. She looks a little see-through. If we touched her, our finger might not hit solid bone. It might just keep going. She looks like her apparition version, ephemeral.

Photo: brunarte
Photo: brunarte

Absolutely beautiful but does it feel real? With two misty green eyes at the top, it’s like beauty from another dimension. Change the eyes to powerful aqua, amber gold, or yellow green. Will you notice the rest of the scene? Will it feel solid?


Who is the woman we look at and who is the one we look through? If she’s a Dark Autumn or a Bright Spring wearing Light Summer colours, we will look through her. She’s coming down the hall but not in the room yet. I can see her there on the other shore but some part of her soul is delayed, not yet embodied. I’m in the field with the flowers and she’s way over on the other side.

Photo: jurgen
Photo: jurgen

How much can you make out over there when you can barely see the flowers on your shore?


She seems suspended, as if we have to wait for her. If we interact with her, she won’t hear, she’s too far away. If we do speak with her, we’ll hear an echo. Distant objects are muted, cool, and less defined. Close objects are more intensely coloured and well-defined.

Photo: Ayla87
Photo: Ayla87

We evolved to associate cool and muted colour with distance.


Visually, she’s literally ‘not all there’. That expression has a lot of meanings. Subconsciously, we apply them all. If we look not-solid, then we look airy. Airheaded? Vacuous. Vacant. Shallow. Drained. Emptied. This is not going in a good direction.

If there’s another woman in the room who feels fully present, we’ll be more aware of her and we’ll speak to her. She’ll get faster better service in stores. She’ll get promotions, responsibility. We think she’s smarter. People will expect more of her and put more of themselves into their communication with her. They’re not rude. It’s just that they see her better.

The Space Between Us

I saw Eva*, a Soft Autumn woman recently. In the wholeness of her eyes (the trees), her skin (the lighter statues), the small amount of water (Summer) and the solid stone (Autumn), the fluid and blur effects (Soft Seasons), she looked like this fountain.  You know that the fountain has to be hard for the whole image to work. You clearly see its 3 dimensions. 3D is tremendously important in translating Autumn.

Photo: Operabilus
Photo: Operabilus

Could this scene be conveyed in the beach colours (Light Spring-ish) up above in Brunarte’s photo? No. The magic only takes effect when the truth has been found, when the lines and the colours belong. Would shade and fog colours (Soft Summer) work? Or does this feeling require its warmth? 


Previous analysts had found Soft Summer and Light Spring. One analyst saw the softness, one saw the lightness and warmth. The missing piece was a solid bone structure. In Light Spring, she was evenly lit and illuminated, but without solid-looking bones. I adored this woman.

Eva didn’t fuss or drag up any negativity. Instead, she chose to pick up the trail of breadcrumbs. In seeing the puzzle pieces separately, and then adding back the final one, she understood so much more about her colouring that if the answer had been right the first time.

She could see the relative importance of the parts.  TMIT has been talked about before. I used an over-simplification to illustrate something, and it may have ricochet’d around as shortcuts sometimes do. Every element matters.

A colour analyst is always balancing and comparing.

We want the geometry of the face to be solid, but we stop before it gets severe.

The substance of the bottom half has to match the substance of the top half.

The illumination of the bottom half has to match the illumination of the top half.

The wrong colour: The features are un-united. If the red is too red, white is too white, blotches appears, the face looks scattered apart.

The balance: The features all belong to the same face. For some people, their truth is to have strong reds and blues. That is their right colour.

How do we know what’s real? Our sense of vision has no idea. Until it gets a comparison. We talked about this a lot in the last article, Different PCA Systems, Different Results.


Photo: african_fi
Photo: african_fi

Eyes are the focal point of the whole person. Eyes are everything. We’re magnetized to them. Nothing, nothing should get in the way.


Our eyes truly are the window, the two-way mirror, the story, and the soul of who we are.The surrounding face should be stable and secure, not floating and vanishing. The eye is framed by the browbone above and the cheekbone below. Both facial structures should be in focus, solid and well-defined on the face. A brow that blends into the skin and a cheekbone that is collapsed weaken the presence and our awareness of the presence. The jaw and chin must balance. Too much weight on one end and the scaffold of the face tips over.

As we have said, our woman’s head isn’t faded at all, even without makeup. The intensity of the eye colour is very high in the face. Something may be highly dramatic.  The hair might be big, easily belonging to bone structure that’s stunning, all sharp angles, like she walked off the set of Dynasty. Or, her features might be lush, all swoopy and dreamy, with an gorgeous man-magnet shape. To meet, she’s fun and funny, interesting and interested. She is way more than her clothing choice. Her head is fully there but her body isn’t.

Finding Ourselves

I thank my dear friend Adele* for explaining to me that in her own life, her disappearance has been necessary, voluntary, and temporary, intended to create a space. She is holding and honouring a place that represents a letting go of all that needs releasing, and trusting that what comes next will be right. By making a place inside that’s a little blank, she announces herself open and hospitable to anything. We see her as incomplete on the outside because she is incomplete.  For the moment, this is the truth of her.

At this stage of life, many of us women in our 50s sense a disconnect where the exterior is no longer communicating the rich interior. We can’t figure out how to get the two on the same track again in this new phase of life. Adele is hiding while she tries to figure something out. I love that she knew when the time was right to remove the cloak. Sometimes, the shelter is too safe and we stay there. Not Adele. She did the releasing, the waiting, the becoming. When she was ready to know her most basic truth, she had her colouring analyzed. Bright Spring.

The change back is a little tricky. Adele is now used to visual neutrality. In her head, she knows that Bright Spring colours are where she looks most present. She knows they don’t look overly bright on her. They look normal. Next to her, it’s all the other colours that look faded. True Spring’s juicy coral looks tired and old under her face.

Adele should run a women’s support group. She is so clear on this topic. She feels no weakness or compromise.  The inside needed to be neutral gray for a while. The time for that has passed. Now, she is holding back from shopping and seeing how many old choices were just old habits. Makeup and hair colour changes are waiting to get clarity about who’s underneath it all.  She’s been amazed to see that her silver hair is quite yellow.

Adele and women like her have been among the most fascinating self-healing journeys I’ve seen. They’re so smart that I just have to sit down for a minute. I see a conscious decision to retreat from our bold, bossy world, to float to wherever she is taken with trust, to feel her way through things instead of always thinking, and seeing what her real self could attract from the inside. This is why I love what I do beyond telling, that it brings this enrichment into my life while I still have so much time to become more from it.

From the remarkable quotes on this page, words by Jiddu Krishnamurti, far more profound than a mere statement about the human capacity for recursive thought,

The highest form of human intelligence is to observe yourself without judgment.

Silver Hair and Warm Colouring

I’d be a bigger fan of colouring hair if there were better colour advice out there. If the best hair colour were easy enough to achieve (Dark Seasons, Light Seasons). If silver didn’t look so very good on certain colouring (Brights) or so natural and easy on others (Cools and Softs).

Plus, some of the most chic hairstyles I know are on the Pinterest pages of the silver hair sites. Send an email if Google doesn’t find them for you. There are about 4 or 5. Best hairstyles ever, regardless of hair colour.

Reader Q: I was once analyzed as a True Autumn and lived that way for many years. Now the colours feel too intense for True Autumn. Is Soft Autumn now better?

I don’t follow people over years and life changes, or know PCAs that have, so I’m not certain of what really happens. I do believe we soften a little and cool a little as hair shifts to white, and skin probably shifts accordingly. We must project colour differently as we contain less water. Mostly, the answer is the same one you’ve heard many times: It depends on the person.

I also believe we stay in our Season most of the time. The very odd person who was right between 2 Neutral Seasons but closer to the warm might shift over to be closer to the cooler one, but that’s rare. I see women over 60 still quite equally spread among the 12 groups. Often, I think the change isn’t so much in the best colours as the best neutrals. The darker browns and grays are replaced with the medium to lighter ones to repeat the hair.

Photo: criswatk
Photo: criswatk

This beautiful face would dominate Soft Autumn colour today and probably always. 


A True Autumn might shift a little closer to Soft Autumn without going that soft in the colours. She might not. I know some silver haired True Autumns. It’s visually amazing. Powerful, rich, hot, strong. On that woman, Soft colours would look faded. It’s only next to Soft Autumn that those colours attain their highest energy. She still needs the hot orange, the golden greens, whisky and burnt sugar, for her clothing to look energized and for her to look energized in it.

That look of blending into our clothes is too-often misunderstood as harmony. Disapperance is the opposite of what harmony looks like. Harmony looks like the highest energy the two can bring out in each other, so perfect is the synchronicity. It feels like singing at the top of your lungs. It feels like the fullest, most extravagant concert, every instrument at once and still perfect pitch, harmony, and melody. No part of the story is stronger or weaker. The balance is heavenly. Synergy means a combined effect which is greater than the sum of the two separate effects.  Your clothing, cosmetics, and hair colour bring out more of you, and you of them, than either would if seen separated.

Defining Your Business

It has been a gift to meet so many women who participate in the various silver-haired forums and online groups. So much power and support, I can tell you that it’s been an eye-opener. Many would like to be involved in the training course to become PCAs (more info here). Some hold back because they feel that they don’t know – or want to know – enough about makeup.

In this business, you are whatever you present yourself to be.  Just be clear about it up front. Your clients will find you if you tell them who you are. Tell them what you believe. Giving people logic doesn’t make them call you. Giving them sympathetic emotion, “She really knows how I feel because that’s how she feels.”, sure does. The market for people looking for the metaphor or vehicle that reconnects them with themselves in an honest, loving, meaningful way is bigger than you can imagine. We are all in this boat to some extent.

I welcome the students whose purpose they can clearly state as helping others, celebrating the person that we are, finding peace in the package we were put into. Our outsides are as they are for a reason. Honouring that takes us 55 years. The freedom is like walking onto a sunny beach after being in a dark, smoke-filled room for a week. We can help everyone find it.

Own 12 lipsticks or glosses and blush, some pressed powder foundations.  Between Avon’s endless range and continuous sales, Revlon’s no-animal-testing, and’s advice on where to put your $, you can be set up without a big expense.

Develop what you love. Find ways to support the massive market segment that Adele represents. The knowledge of how to do it is already in you. Figure out how to give her what you need.



22 thoughts on “Silver Hair and A Powerful Presence”

  1. That look of blending into our clothes is too-often misunderstood as harmony. Disapperance is the opposite of what harmony looks like. Harmony looks like the highest energy the two can bring out in each other, so perfect is the synchronicity. It feels like singing at the top of your lungs. It feels like the fullest, most extravagant concert, every instrument at once and still perfect pitch, harmony, and melody. No part of the story is stronger or weaker. The balance is heavenly. Synergy means a combined effect which is greater than the sum of the two separate effects. Your clothing, cosmetics, and hair colour bring out more of you, and you of them, than either would if seen separated.”

    This is where I have a question. When a color is “part” of you, is it necessarily suppose to blend with you to achieve a harmonious effect, or is it supposed to brighten? I draped as DW but it was just so close and I still have both sets of colors in my wardrobe. The DA blended quite well, and if a viewer saw it, the viewer would not be frightened, it looked good. DW brightened/illuminated eyes, teeth and skin and so we went with that. It seems that sometimes, the final question in a draping can be “do we want to blend so that nothing “jumps” out, or do we want to brighten? Zyla advocates using the “body colors” and those (for me) seem to be in my DA fan. Very confused and thank you for any light you can help shed on the matter.

  2. Melissa’s comment above seems to sum up a lot of what I have been wondering about. I had an in-person PCA a few months ago that resulted in Soft Summer. The analyst was very good and, because I was dubious, everything was explained and I can clearly see that it was the correct result. The reason for my confusion was a few on-line analysis results of LSp and LSu — so I had thought it would be between those two. Although I have read enough on this site to take on-line analysis with a grain of salt, each of those Light palettes felt pretty good to me.

    Now I can see how Soft Summer blends in much more easily with my natural coloring and I am comfortable with this “diagnosis”. But there are times when I pull out something from my Light season wardrobe and feel just great in it. I can see that it is a little too bright, yes, but sometimes that contrast (with my own more muted coloring) seems to be helpful. It is not enough of a clash to be overwhelming (like Bright Spring would be), just enough to slightly brighten me.

    I wonder if part of this is cultural — with the prevalence of brighter colors in stores, in the US anyway, and the bright girl-next-door persona being such an popular archetype that I am programmed to like colors that brighten me.

    Anyway, sorry for rambling, but my question is basically whether perfect blending with our own natural color is the object of PCA versus gently contrasting. And also of the relationship between Soft Summer and Light Spring, if any, which seems to come up a lot in discussions.

  3. My hair was always warmer than my season- some kind of cool – and now is greying a cool silver that clashes horribly with my sallow skin so I colour it. Most information seems to state that you find the warm seasons greying yellow grey and the cools silver, as if that alone could indicate season. I’m confused about that too. Also, now we no longer assume every redhead to be wrongly dressed out of warm colours and brunettes silly in pastels, because anyone can be anything, doesn’t that make us look for what is right about people rather than what is wrong?

  4. The wait is over. Your words have provided the missing link to understanding the silvering process. As a very golden True Autumn, it made me queasy to think of wearing my skin color with cool grey hair. Yuk!

    I highlighted my hair a golden blonde for the growing out process and as the silver strands blended, I never had an ugly stage, thank goodness. Now that I am fully silver, there have been some challenges to finding the right colors to wear and changes in makeup. I am finding my way and have found some Soft Autumns look good and some True Autumns are not so good. As someone who rarely wore neutrals, many have found their way into my closet. Finding those perfect colors to wear so I don’t become that “column of blah” will take some work.

    Thank you for setting me on the rjght course. Your entries are very informative and enjoyable to read. It is a wonderful reference for understanding this very complex subject.

  5. I am also very very inteterested in your answer to Melissa. Before PCA existed as a concept, people used to talk about a person’s “best” color. That color was very striking on the person and anyone could spot it and agree that it was probably the person’s best color. It was often a color that made the individual “pop” (yes, even the soft seasons could “pop”). For example my daughter’s is banana cream, mine is aqua.

    I sort of see the colors that harmonize as another thing. They may be generally flattering or even just not unattractive. But they aren’t eye-catching in their ability to flatter. Do you understand what I mean?

  6. About what Harmony looks like and how it differs from blending into one big homogeneous circle : Many students find this very challenging to distinguish as well. For some reason, clients pick it up right away, often before I do, and have all sorts of funny ways of describing what they see. As they participate in their own experience, which is important to me, this is usually among the 3 things they see best. Maybe it’s because they’re so used to their face.

    I appreciate that for the analyst who has to make decisions and is learning on a face she’s never seen before, it’s more difficult. The colour analyst has techniques for telling them apart. She’s comparing one colour to another under the face. She has many other markers and features that she’s evaluating at the same time. You couldn’t choose correctly between any 2 Seasons, far apart or close like DA and DW, based on one criteria.

    I have known some folks who can’t see it – correction, they can see it, but I cannot find the words to explain to them that the overly blended look is not the better choice. When I can’t come up with any other way to explain it, my best advice is to suggest they watch someone else be analyzed. Then, they get it, no problem. They see the compromise and weakening of being unidimensional with one’s attire.

    There are elements to human colour analysis that are beyond words, and maybe shouldn’t be reduced to words. We can’t come close to the feelings of a painting or a landscape with words. Pages and pages couldn’t evoke what a single snapshot could. This is the same. The same word carries different meanings to different people. How about ‘calm’? One person thought you meant ‘no excitement’ and the next went the other way and thought you meant ‘perfect unity’. Like so much about PCA, you get it when you see it. You can read all the books over and over. Still doesn’t come close.

    As Jennifer asked, I might not say our correct colours are ‘blended with our our colouring’, but I might say ‘repeating’, though I don’t think people would pick that up if asked. Humans don’t register the precise and separate colours of our skin consciously (we sure do subsconsciously). Not sure I’d call it ‘gentle contrast’. I would say ‘strongly connecting’. You know how when complementary colours are side-by-side, they raise each other’s energy? the line between them hums, it so heightens each colour to more than they would be apart? The effect is more like that.

    Yes, S Su often tries to brighten themselves by wearing bright colour. Problem is that all we see is the colour, she’s faded away and long gone.The colour says “Look at me, I’m way more than her, forget about her up there, the action’s down here!!!” She mutes herself even further in the comparison. Soft Summer IS highly present and energized in Soft Summer colours.

    Susan — not sure I understand the last Q in your comment. We do look for what is right… I would have said, ‘for what is true’. Because truth is right. It’s unlikely that your hair was/is warmer than your skin (Season) unless it was/is coloured by an entirely different set of genetics, which doesn’t seem likely. We see surprises, for sure, but they always work. Nature didn’t get you wrong. For instance, we see very yellow-haired Light Summers. We may think, ‘too warm for the Season’. But there’s lots of yellow in the L Su palette. We can’t look at hair and know its colour dimensions. We see True Summers with a yellowish silver – first, might be because she’s wearing not True Summer colours, and/or second because it’s the truth of her, and therefore it is not yellowing her skin, dulling lips and eyes, and doing the many other things that imposed too-warm colour does to a face.

    Donna — glad I could help :)

    Jean — I think so, but I’d put the harmonize up in the top description, “very striking, even for the Softs, anyone could agree”. The second statement you make, that sounds more like over-blending.

    Please do keep asking. You help me pin-point where the confusion is. Sometimes, the answer is “you have to see it”. Picture a bubble. You have to. No words could capture what it is. Sometimes, the answer is easier to articulate if I can figure out exactly where the ideas conflict.

  7. Really enjoying the discussion. I don’t really know what my question is, but I’m still on the fence between DA and SA. Maybe what SA is on me is “overblended.” I look so even; sometimes I hate it, but sometimes I can begin to see the glow and beauty in it. But I miss the contrast I used to have with black and off-white. I’m trying Soft Autumn days and Dark Autumn days [of course, I may be wrong with my identifications of garments – two things I picked up in a thrift store yesterday seem to be, on reflection, SS rather than SA. Although, they don’t look so bad either. Which would make sense if Soft is my TMIT. Although, after a few SA days at work, I just feel I need relief and have to put on a white T-shirt and black v-neck sweater the next day – with medium brown plaid slacks – which I suppose would make sense if Dark is my TMIT.]. Today is a DA day, and it feels so right. Of course, the weather and season around me is blending with me on both types of days. Maybe it will be clearer as I try to adapt both options to winter and then to spring and summer weather and surroundings.

  8. As much as I like trying to figure this out on my own, could you address enhancing eye color when hair color has changed. Before going silver my hair color was reddish brown which provided the compliment to my olive green w/golden brown star eyes. Now my eyes disappear into my face as two dark holes. Short of wearing the compliment red every day, how can I once again have what was my standout feature back?

    I have changed my eye shadows to lighter shades like warm pinks and peaches, no more browns with silver hair.

    Although enjoying dressing in my new softer neutrals, I do not want to be that person you can’t see. Standing out in a “good way” is the goal, not the crazy, old lady in the wild colors.

    Thank you.

  9. Christine, thank you for taking the time to answer my question. Really appreciate your efforts sharing your experience and insight on this blog.

  10. Donna – Of the many silver haired women I’ve met, I don’t recall this particular effect of hair unbalancing the face. We are given our correct and most flattering silver, just like we were given our best colour. Usually, once hair silvers, I find the face more striking, the eyes more interesting, the makeup better than ever. Hair and makeup become like jewelry on the head. On Winters, the overall look is great because silver hair removes a colour block so the clothing colours are bolder and stronger and cleaner. I think I’d have to see you to figure out the fix. Hopefully, your Season is correct – which I say only because the only recognition I have for the “my eyes are too much for my face” comment is when Winters are wearing Summer type colours, and then, I’ve heard it often. Could also happen in an Autumn, even Soft, wearing Spring type light colours.

  11. Hmmm, you have given me some things to ponder and test. My eyes don’t exactly feel too much for my face, i think it is more of a “my eyes stand out in a different way” now. Thank you so much for this advice. As a 1st time poster, long time reader, your dedication to your followers is “fan” tastic. Thanks again.

  12. Christine , I’m finding replies all over the place on my poor little BlackBerry- its always a lovely surprise and like the previous reader I’m very grateful. The grey hair thing- its showing cool like steel against my yellow tan ,not warm with cooler skin. I’m a bit hazy on nature’s consistency if redheads can be cool? One of your readers,Jane helpfully suggested Bright Winter so I was interested to see you say that palette makes others disappear. I never disappear except in warm, light, or muteds- an effect that online and personal analysts must have found ‘harmonious’ enough to call soft autumn or in earlier times Summer-autumn. When I worked in theatre it was not helpful to disappear!

  13. What a great post to read! After 3 years as Bright Spring, it was only the other day that I actually saw it fully. I very much relate to where your friend is (minus the silver hair, for now), and decided the best thing to do for the moment is to pause and observe. A wonderful thing is letting go of my attachment to black. In fact, I almost can’t stand it now, though it still works now and then.

    I agree that we don’t change seasons with age, but likely there are shifts within our season. As a teenager with blue-tinged black hair I looked like a Winter, but thinking back to colors I was naturally drawn to, it was BSp. Then in my late twenties/thirties I looked like a DA, but it was always too strong for me, a little sad… Now that my my hair, though still dark, is warming up, the warmest colors in the palette look very good. I wonder sometimes, could I be TSp, but TSp colors look terrible, and when I check with my fan(s), the colors I now feel attracted to always match the BSp tone. I can see myself one day needing the BSp colors that give a LSp or even TSu vibe, but I suspect I’ll still need my colors to be BSp, not another season.

    Zyla colors — hmm, I “believe” in them, but came to the conclusion sometimes we are to wear them, sometimes not. Eg.: my eye (energy) color — too close in value to my skin color, and just a stop or two away on the color wheel, not really able to wear it in large amounts without looking a bit blah, a bit better mixed with the essence color or a neutral. However, its visual complement — great. Or a slightly brighter version, slightly shifted on the color wheel, that works too. It might be different for a Soft. Another thing: there were colors in the fan I thought were less good for me than my colors or their complements. What I discovered recently — those colors look great too, in triadic or split-complementary combinations. Whereas I can wear the complement of a body color alone or with a neutral, when wearing this other colors, they need a “support system” in the form of the combinations above.

    Where I find Zyla very helpful is in determing the neutrals that best harmonize with me. They all seem to have a quality to them, almost like a second, surface-pigment undertone, if that makes any sense, in my case a tawny feel that is not too golden or too reddish, come to think of it, it is the color of my eyes. It makes me think this is what gives individual variation within each season.

  14. I meant to say also, this “surface-pigment” is what I think changes with age, not the undertone.

  15. Thanks ,Ally. I know a few systems that admit that now. It’s the idea of bluey silver haireds being possibly warm that still trips me up and to be honest I keep reading how Warms grey in a yellowish way and Cools grey silvery. Almost as if you could (finally!) tell at least if you’re warm or cool when you grey (some consolation lol) But perhaps this is not the case.

  16. @ Susan
    If yellow hair means you’re warm, and silver cool, then it is basically like the silver/gold test. If you’re a True Season, great. If you’re neutral…keep guessing!
    Besides, yellow hair sometimes comes from smoking or stupid shampoo or lots of other outside influences.
    Hair colour in any stage is no indicator.

  17. Corinna- you’d think I’d know that after all this time but sometimes it takes a reminder- thanks! Guess I’m just trying to pick up on the most recent received wisdom.

  18. I have written about my journey going gray before on this site. I am a True Autumn who went through a period when I thought I could no longer wear my TA colors because they “clashed” with my hair which turned silvery rather than yellow-gray. I started a brief “adventure” into Summer colors that I felt would “match” my hair better. Horrible mistake. In SSu, I totally disappeared; in TSu, I looked harsh ( cool pinks are some of my worst colors ).

    Finally, I went back to TA colors and felt at home again. It just took some time for my eyes to adjust to the loss of the old auburn hair framing my face and the new silver that replaced it. Orange is still one of my best colors and I love wearing it! My eyes are a teal / blue-green with orange and brown flecks, btw, and my eyebrows and lashes are still naturally dark.

    I hope my story will be of some help to other Autumns who can’t dye their hair for medical reasons ( my situation ) or simply don’t want to. You can and should still wear your Autumn palette. Silver-haired Autumns unite!

  19. Really enjoyed hearing you say that ,Lena. I don’t Think I’m an Autumn but I love to see them and have often been struck when the silver ones wear their warmest colours- wow! I wish so much of what we read elsewhere , not here, suggests seasons compromising to the silver when as you say, it so often isn’t necessary even (yay) for the warmest.

  20. For some reason this article connected something for me that I’ve been wondering about for years, long before I ever heard of color analysis.

    My nose is fairly narrow with a somewhat prominent ridge. What I started noticing was that some days it looks very rounded and sort of flat. At first I thought it was fluid retention or weight fluctuations or something like that but after a while I could see that it could look different at different times of day as well, and that it didn’t actually change so it got even stranger. At some point I decided it must be just a trick of light and I still think light plays a big part in it but now I think colour does as well. I’d heard about colour and bone structure before but somehow never understood what was actually meant until I read this article. I wonder if good colour is really enough to counteract bad light, or if bad light will always have a negative effect even in “perfect” colours. Some analysts might read rounded, fleshing-looking features as youthful, but if that’s not what your face actually *is*, it would just be an illusion and to me, reality is preferable to even the most idealized image.

    Is white especially obvious when it’s bad? I see a lot of people whose chins and jawlines just seem to disappear in white. It’s like their faces go completely flat face and it’s difficult to unsee once you start seeing it. I have no idea if these people are all the same/related seasons or if they’re just “not winter”.

  21. Wow, Hanna, if you’ve noticed all this on your own, you have a future as a colour analyst. Remarkable how much you’ve picked up. Good colour makes bad light not as bad, but bad light is bad light for everyone. White has the disappearing effect, as do most light colours, on any ‘non Winter’. It will have other effects too depending on what kind of non-Winter and what else the light colour is besides light. Most impressive was “what the face actually IS”. Perfectly said. There’s a distortion in wrong colour. Once everything is truthful, our reaction is “Oh, is that what you look like?” It’s very strong with less-than-best eyeglasses and in men.

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