I went to a meeting. As the women arrived, one woman distinguished herself immediately as a leader in any crowd. Her physical presence was noticed first because she was quite tall and strongly built. Her face was equally strong, in the colours of coffee, cream, and golden piecrust, with clove brown eyes. Wearing bronze eyeglass frames with copper glints, her only makeup a beautiful deep cinnamon lipstick, she was striking and beautiful.
She moved through the crowd with confidence. She had the business savvy to put in a plug for her company as smooth as could be. Her natural qualities of character were as manifest as her beauty. Her choices in clothing and jewelry, although of high taste and quality, were confusing.
Nobody is ever unattractive. Every woman is truly a beauty in her face and her heart and I can look straight in your eyes to say that. But there are better choices. Better ways to spend our money that look more truthful and less artificial. In a white dress with splashy flowers in primary colours, suddenly, the random blonde hits in her hair stood out as disorganized. The coloured glass bead necklace looked plastic because our energy modifies not only colour but also texture and everything else that comes near it.
In the white jacket, our needle skips into a groove of wondering about skin that’s seen too much sun. It’s uncomfortable now. We have thoughts we don’t want to have. During your colour analysis, we’re going to see what the drape colours do to your skin. We are equally going to observe what your own colours do right back to the drapes (and so to your clothes and jewelry choices). Next to our woman’s colouring, white ages her skin. She in turn alters simple white to become strident and look, well, a little cheap. Thoughts we don’t want to have.
We love this woman. It doesn’t feel right that we can’t settle in her presence but our visual system is on a roller coaster with too much to process. I’m always reminded of a light-coloured person wearing those Christmas sweaters in strong reds and greens with shiny ornaments appliqued on the front. Like wearing garland. We’re feeling effort and distraction. Subconsciously, we’re scanning the room for somewhere easier to be. She is an Autumn, probably True Autumn, wearing colours and feelings made for another woman.
Where’s the balance? How can we know the way to enhancing what we are in a way that attracts people into our presence? By wearing the colours and lines that we are.
Soft Natural True Summer
One of our group wondered about a Polyvore using the True Summer palette, adapted for a Soft Natural body.
Classic bodies are people who are medium in their proportions, like me. Nothing really out of the ordinary, in the center of the National Standards charts. Natural bodies are similar, with a heavier bone structure and more muscular tendency. The other groups belong to those body shapes that strike you as not average. They are Dramatics (long and lean, Keira Knightley, or long and curvy, like Bond girls, Ursula Andress), Romantics (smaller curvy, like Adele) and Gamines (Mighty Mites). These are very loose versions of the 13 body types outlined in David Kibbe’s 1987 book, Metamorphosis. If you can find yourself, it is brilliantly good.
I am not brilliantly good at Kibbe’s interpretations. This is my take on SN. It won’t match anyone else’s.
Classics dress head-to-toe. Natural means separates.
No Croc, Brahmin, Python…Summer isn’t lizardy, futuristic, or obviously modernistic. Even on a Dramatic, they are more of a high breeding and ancestry group. Those other words are too cold and hard. They seem oily to me, moving into smarmy. Great on the right person though. We’re just looking for your normal. If you look like you’re wearing a costume, you’re in the wrong Kibbe and/or the wrong colours for you.
Choose coloured handbags. The choice in this item is endless. Gray or black ranges from sensible to serviceable to kind of depressing. Water colours, berry pinks, gorgeous blues, these are beautiful places to pick up the makeup colours. Trust me, we’ll see it, even in a fingernail. You would on someone else, right?
Summer skin is most beautiful when it’s smooth, silky, and dry. This colouring is not at its most beautiful glossy or frosty, slick or metallic, which boomerang us back to wet, cold, and hard.
True Summer skin’s way of handling light is the diffusion of moonlight. There, we can find no sun, no hardness, no glitz, no wetness. There’s no winking like fireflies (that’s Bright Spring), no sharp gleam of platinum (True Winter), no dew (Light Summer), not iron and lead (Dark Winter’s gray feelings), and on it goes. Moonlight is not blingy (that’s Bright Winter’s normal). Moonlight is very cool and very soft. In a morning sky, it’s a sheer cloud-white curtain moving in a breeze. At night, a cloak of pearly, silvery light.
Vision theory moment: Moonlight is a combined reflection of sunlight, starlight, and reflected earthlight. It is neither blue nor silvery. We have colour sensitive cone cells in the retina whose highest sensitivity is to yellow light. But when illumination levels are low, the cones fire less. We become almost colour blind. The very light-sensitive (but colour-insensitive) rods take over and they happen to create more impulses in response to blue and green wavelength light.
In the way of Summer skin to mirror the colours and textures it wears, it will shimmer in brushed silver. The way to iridescence in skin is in brushed shimmers in pink, lavender, or blue, since these are the notes found through the entire palette, including the grays. You look amazing. The shimmer is an even veil. Put a Winter in those colours and textures and you’re looking at the skin through a window that needs cleaning.
Even satined makeup requires caution. Satin on Summer skin can convert into cold and frosty because these colours are already so extremely cool and the complexion is delicate. On Winter skin, frost is just skin, in the same way that Winter’s so-white-it’s-blue white will be just-white on a Winter and aggressive-colour-under-oily-face on a Summer. Only you see your clothes on a hanger. The rest of us see them compared to your own colouring right under your face. Again, just looking for what looks like normal white on you.
Textile that mutes colour is effective. Not the stronger thicker textures of Autumn colours (and skin). This is the much softer side. Summer isn’t thick, straight, or hard. It’s swirly. Spring is sweet and scattered, moving towards pointy and buoyant. Summer is grounded. It sweeps like a porch swing, a branch in a breeze, the lines created when you pour liquid slowly into liquid. The Best Skin Finish on Summer Colouring: , dreamy, dreamy, dreamy. (Light, True, Soft :))
Summer colours are light (compared to Autumn and Winter), cool, and soft. Summer surfaces look muted and lightweight (Spring, who goes from frothy to floating, is closer to weightless), with brushstrokes or a gently buffed texture. The softness is feathery. Fluffy is good. Downy is great. Good dreams have fleecy edges.
Shiny surfaces shift colour to appear lighter and brighter. That’s great on Spring but makes no sense with Summer’s colours. They don’t cooperate. Since those same colours exist in Summer skin, it won’t cooperate either. White feathers can be almost blue in moonlight but they’re never the colour of lightning (Winter).
The True Season Analysis
If you’re a True Summer, remember when the analyst saw that drape on you right at the beginning of the PCA and stopped for a minute? And changed drapes and went back to the silver, and kept going back to the silver without telling you why? She saw something. She didn’t move the drapes that way on your Bright Spring daughter.
Finally, she said, I see today’s session is going to be a little different. A True Season analysis is quite singular. In the True Summer silver drape, the face is perfect right from the start. Skin is evenly coloured. The eyes are so huge, you’ll think I’ve lost my marbles, I wonder if the colour analysts will recognize this, I am reminded of those glowy pearlescent white alien forms with great big eyes like from the Close Encounters movie. Read the story – no accident that Spielberg put 6 year old ballerinas in those outfits. The man had a handle on Summer. In some ways, with a True Season analysis, you begin at the end. Most remarkable, regardless of which of the 4 True Seasons you see.
More True Summer. They always look like this to me. The eyes are all you can see, the skin is so cool and quiet.
The Summer Skin Finishes
Integrating Summer into the Spring and Autumn we’ve already done,
Bright Spring: glass
True Spring: persimmon
Light Spring: petal
Light Summer: peach
True Summer: cotton
Soft Summer: flannel
Soft Autumn: suede
True Autumn: velvet
Dark Autumn: leather
Paper to pearl finish.
Use face powder. Translucent.
Use a foundation brush that makes the product a thin even layer. If I’ve applied your makeup, you know I’m selective in the extreme about where concealer goes and how foundation is applied. It’s fast and simple but there’s a way that I think works best.
What I don’t do for lack of time is follow with something I do on myself, and everyone could, which is to buff the skin a bit more. The Body Shop Extra Virgin Kabuki brush is my favorite (found it on beautypedia.com of course). It’s much too general to be the first foundation brush to my picky preference, but it leaves a superb buffed finish without moving the concealer and foundation from their zones.
The Shine Stopper at Paula’s Choice is very good. It works well on the T-zone.
The lips should look about like unpowdered, natural skin or just a bit shinier. Gloss becomes goop in a heartbeat. I’m not telling you to have powdery lips, just stay with reasonable, believable lip moisture, not a whole lot extra.
The colours of water are so important in True Summer – wear this type of jewelry, scarf, and movement near the face.
Navy mascara, soft not intense sapphire (Dior Icone Blue 268). Grey is hard to find, but the various Soft Blacks and Almost Blacks are fine. Black equals railroad tracks.
Stay with calm, fresh, gentle contrasts. Summer light colours are pastels, meaning more pigment than Winter light colours that are much closer to white. Avoid too much distance between lightest and darkest elements in hair, cosmetics, and clothes. Keep them closer together.
It’s quite important to settle in your mind how far from white your lightest colours are. Look at them and notice that it’s a long way to white from your coloured pastels for all three Summers. The eyeshadow highlight for Winter is some version of ice. On Summer, I use more colour under the brow bone, as muted (grayed) shell pink, where the amount of graying depends on the Season. True Summer might wear Merle Norman Ballerina, while Soft Summer could wear Merle Norman Mist.
Use eyeshadow instead of eyeliner or diffuse the liner well by applying shadow over it.
Pearl to petal, as daisy, as butterfly wing. A little more fluff than Spring, a little more dry-down.
The True Summer section applies. There is more warmth here as a first warm weekend in May. Outdoor glows are great but controlled. A pale pink gold gloss or an uplight on the cheeks is plenty. You are a Summer, not a Spring, so restraint is needed. A May picnic isn’t the same as the beach in July. As a Neutral Cool colouring, remain cooler than warmer in everything you add. The Mineral Glow in Shimmer at e.l.f. is a nice choice without a lot of heat or a silly price.
On the Light Seasons, the lightest colour is plenty. The lightest application is plenty. The sheerest sheers will look so much younger. The blush by e.l.f. called Shy is one I love. It would set you back 2 whole dollars.
Face powder still applies. Use translucent, perhaps with a slight yellow tint.
Wondering what else to invest in at e.l.f.? Go to beautypedia.com. Click Search All Reviews. Choose Brand e.l.f. Cosmetics. Down in Skin type, click all the types. Down in Ratings, deselect all the boxes except Paula’s Pick on the left side. Why spend the same money and not get the best? Scan down the price column. Not bad. Now go back to the Search and select the Very Good box. 4 pages. Even better considering what’s coming next month.
The Spring stroke in Light Summer often places the outer corner higher than inner. Follow that. Don’t add cat eye effects unless you’re under 20, going to be in a music video, or are a Bright Winter Theatrical Romantic, and even then, it’s better in eyeglass frames than eyeliner.
Many True Summers have a very round eye, almost square. If the outer eye corner seems to pull downwards, then don’t extend the line at all, just keep it close to the rounded outer corner of the eye.
One of the many places to use concealer is to cover the red and/or downward crease at the outer corner of the eye. Blend the concealer up, not down. Everyone should do this. Nobody over 20 should use frost.
Paper to flannel finish.
From our textures above, Soft Summer becomes more woven, drier, and thicker as we move deeper into Autumn. Cotton to waffle weave. Light Summer will wear L’Oreal Peony Pink lipstick, while Soft wears Spicy Pink.
Soft Summer is not the dustings of icing sugar or flour above. It’s a dusting of dust. Contour with powder 2 shades darker than foundation. It looks like believable sun without seeming dirty or yellow. Clinique Superpowder Double Face makeup in Matte Tawny 06 is an option. Your choice is still cooler than warm, like a foundation but a few shades deeper.
Use it as contour, as we began discussing in the Autumn article previously. That means in a 3 shape around the forehead, where the bone is most prominent, around the temple, under cheekbone so the blush can be blended above it and nearer the midline, and a little under the jaw. If the nose shape is not sharp, add second contour by beginning at the inner corner of the eye and go down the sides of the nose bridge, just off the midline, not down on the nostril. The deeper eyeshadow that goes above the crease is diffused away as it approaches the midline, at a level about where this second contour placement would go if extended under the eyebrow.
During the cosmetic colour section of your PCA, we focus on what right colour looks like on your skin. I really want you to see someone very new to you and also, that when cosmetic colour is correct, you can apply it and pack it on and apply more. It just melts into the skin. You can be a lot less careful than you’re used to with wrong colours. Some steps are left out for lack of time and small learning opportunity. Lipliner is one. I never use coloured lipliner anyway. I use a clear sealant to keep lipstick in place. Paula’s Choice makes a great one. The Lip Lock pencil at e.l.f. is another.
The cosmetic selections for Soft Summer are unlimited. You could fill pages and pages. At e.l.f., the Mineral Blush in Plum mixed with Pink or Joy to get the right darkness level, looks like it would be pretty.
For eyeshadow, look at the Endless Eyes Pro Mini in Everyday. You won’t use them all but for $5, it’s almost ridiculous.
On Summer, application is gentle and swirly. There are so sharp lines or edges.Diffuse one product into the next. The canvas is drier, using powder to ensure that products don’t catch and jump. If using cream products, apply them to the skin before the powder so they appear from within.
Recap: The skin is soft and dry, setting up gentleness and gradual muting. The features are blended into the skin with colours that create a soft flow or diffusion instead of sharp definition. As colours flow into each other as hazy mists, it feels difficult to tell where one feature ends and the next begins.
For Autumn: The skin is contoured, setting up lowlights. The features are defined from the skin by colours that are warm and velvety and the judicious use of metallic glints.
This was Spring: The skin is dewy, setting up highlights. The features are fresh, lively, distinguished from the skin by being very colourful, moist, and vibrant.