Kategoriarkiv: 2. B O O K S

Book: Color Revival by Lora Alexander

 

Today, it arrived! The last of the color analysis books I have recently bought.

”Color Revival” — ”Understanding advanced color analysis”. Lavish Illustrations by Lora Alexander herself, combining two talents: painting and color analysing in one book. And she does it so well! The book is highly recommendable.

Lora’s company, Pretty Your World, shortened P&W, sits in Illinois, U.S., if it has not moved since last I read posts on her blog: Lora Alexander’s Blog, which was today.

Lora describes three ways of sorting out color seasons. 1. Four seasons. 2. Twelve Seasons. 3. The very latest: 4×4 seasons, that is 16.

Many of her personal illustrations AND photos (though I don’t know if the photos are by her) – some I recognized from her blog. Others all new to me.

Some illustrations very useful, as the ”eye comparison” on p. 32. How very near each other cool and warm toned skin can be colorwise! And on p. 90 two very alike women, both Softs, one is Toned Summer, other Tinted Autumn. One cool, the other warm.

What could be bettered, if a fourth edition be published, are the color square pages. Many colors are not the color it is said to be. This is a very common fault in several books on the subject.

At p. 35, there is a band of reds with different properties. Tinted, Pure, Toned and Shaded. And the band is, in itself, for only one of the seasons. A cool one at that, as far as I can tell. So, Lora, please insert a short info that this band of red is for cool seasons.

So the red band on p. 35 is only one of four possible bands of red. Each band of four variants of red means a total of 4 bands with 4 colors in each: the 4×4 seasons method.

The Pure red is strong as neon against the skin of my hand. The Tinted Red is pink – or maybe rose. Don’t know the difference between Rose and Pink, really. Toned is a dark Blue Red. Shaded-the dark Red – looks lika kinda Burgundy.

The chapter on Elements of Contrast could be favourably widened and more kind of contrasts illustrated. And further, why not photoshots on each of the 4×4 types with best contrasts included.

Another thing to consider: which textures for which seasons. Photos with color type, contrast level and textures combined.

On p. 43, Lora presents us with stories from her color analysis years. One of them is an experience of a makeup party with only a limited range of colors. Though she told the man in charge she could not wear those colors, he insisted she’d look fantastic. But she came home and saw the disaster in her mirror. She had been right. As a Warm Autumn – hot pinks and fuchsias and purples – was a disaster on her.

This little episode applies very much to me. Fuchsia, and cool strong roses are the very colors I hate to see on me. Being a Warm Autumn too. Or am I????

The 12 season- I would rather term them subseason theory-describes Springs as Warm Light and Clear, while Autumns as Warm Dark and Muted. Well, I am Warm Light to Medium Dark and Muted – clears and brights don’t work well on me, so therefore I ruled out Warm Spring, which people usually term me as. Most of Warm Springs many clears blindes away the delicate colors of my white skin.  Some clears, I can have, but they are exceptions. Ruling out Clear Spring.  Likewise, Light Springs pastelles make my own pale colors disappear completely and make me washed-out.

Have thought that if I’m not a Warm Autumn, maybe a Soft Autumn would be better. But now with the new 4×4 concept there appeared the new possibility of Soft Spring = Light Spring Dark, as the picture of the yellow dresses on p. 86 gave.  Knowing beforehand yellow is not a hue for me – mustard excluded – I placed my hand on each of the four dresses to see which looked best.  Pure and Tinted I immediately ruled out.  Shaded, i.e. Warm Springs yellow would be best, or so I thought. Best was actually the Toned Yellow for Light Spring Dark or Soft Spring. So now I get to examine the colors of Soft Spring too, being soft must mean it is the least clear of Spring palettes.

Color palettes are not totally different but several of them share colors. In the 12 sub-season theory Warm Spring is just another Autumn really – mostly Warm Autumn. So best choice now is to compare those palettes –

Warm Spring(Dark Spring) – her colors are darker versions of Pures (Clear Spring). Didn’t know that before. Only noticed that Warm Spring shares hues with Autumns. As Autumns are generally softer, then Warm Spring should be the Softie among Springs. But now there’s Soft Spring, too – or  Light Spring Soft.

 

 

Clear and Light Springs are really completely different palettes than Warm Spring! Clear sharing with Winter and Light with Summer – both Clears and Lights carry many cold colors a natural Red must shun as the plague!

Toned or Soft Spring (Light Spring Soft), – season I contemplate, as seen in yellow dresses on p. 86.

Muted Autumns: Soft Light Autumn and Soft Dark Autumn. Have thought I maybe am a Soft Autumn – despite of my reddish mane. Then I must consider what kinda red my hair really is. Actually, I’m over 55 now so hair is going lighter for every year but still has most of its redness left. Have not toned it the last 15 years. Have a really kind light above my bathroom mirror that casts golden and brown streaks on the red, which is really, so I have heard, a red blonde  a dark strawberry, more orange than pure red.  In broad daylight my hair is orange. So I’ve heard many jokes of ugly freckles and Call the Firebrigade as a young woman. Those days it was not yet common for women to dye their hair. Nowadays any woman can color her tresses red – really red.  One woman who had such red hair dye said my hair was not red, hers was! Mine were ”blonde” she said. I got really upset! She had faked hers, while mine was the real thing. And she thought she’d learn Me something! Well. Everything is Relative, hair colors too! Well, my  hair is medium value orange, more muted than clear, a color that was called red as I grew up. It is not that strong orange that makes a so called ginger, though my skin of white with a cast of golden and caramel freckles could belong to a such creature. My eyes can turn many different nuances depending on which color my top has. If this color manages to bring out one of my iris colors, so they sparkle in turquoise forinstance, or pop in medium green or clear light jade. There’s also coffee and gold in them, and even golden brown which I managed to bring out by a certian brown mascara.

When comparing my skincolor to the Belles on pages 46 to 76, I can see my skin color value is mostly alike Tinted Summer on p.56 and Pure/Clear Spring on p. 62.

But when placing my hand on the Pure/Warm Autumn woman’s face, her with the Mona-Lisa-smile!,  my paleness receeds, and the colouring under that whiteness comes to the foreground. It shows that my coloring blends rather perfectly into hers. What that range of colors are called is another question. I really cannot identify them.

 

and Warm Autumn – the season I also thought I might be. I wear many more Warm Autumn colors better than I do of Warm Spring.

1, Think I could learn a bit from the comparisons Lora Alexander gives us. P. 88: Shaded Spring vs any Autumn.

Springs generally brighter and lighter than Autumns.

”Some Shaded Springs (Warm Spring) have Very Red hair and Clear Blue eyes and their season is obvious.”

Girls with more subdued coloring often confused with Tinted Autumn (Soft Autumn Light) or Pure Autumn (Warm Autumn).

Let the draping decide!

Shaded (Warm) Spring needs clear warm shades, not for a Warm Autumn,

neither do the Soft Autumns look so good in Shaded(Warm) Spring’s goldens and yellows. 

Soft Autumn’s colors have a neutral temprature,  she says. Leaning on warm though, I say, otherwise would be no need to separate Soft Autumn from Soft Summer, would it?

All Autumns, states Lora Alexander, love earthy muted colors: olive, brown, pumpkin, mustard.

All springs favour  more clears and delicates.

Just want to throw in:  Shaded (Warm) Springs can pull of those earthy and muteds too.maybe lighter? Brighter? Are there any lighter, brighter earthy muteds out there?

Light olives, khakis, browns etc, are obvious. But what about bright olives etc. Hardly none! Olives less muted maybe.

2, Another of Lora’s comparisons, p. 89,  Toned Spring (Light Spring Soft) and Tinted Autumn (Soft Autumn Light)  Before, some people that got labelled Soft Autumns but their palette ”too flat and heavy”.  For the new Soft Autumn, Soft Autumn Light/Tinted Autumn, this colors ”too pale and heavy as well”. (Chara: Well, if Tinted cannot pull off pales, then I surely don’t know). ”Difference between these soft, warm seasons is a matter of value first and foremost. Toned Springs are lighter in value than Tinted Autumns.” Or: Light Spring Softs are ligheter than Soft Autumn Lights.

Lora continues: ”Being a Spring, even a Soft Spring”there is a need for some   l u m i n – o s i t y   that Autumns don’t provide.” She renders the Toned Spring (Light Spring Soft) a Light Spring that is a bit toasted.

3, Third comparison – Differences between the lighter and darker Soft Seasons. How do you determine whether you are a Light or a Dark soft season? That is Summer – Toned vs Shaded. Autumn – Tinted vs Toned. Answer: value of eye color. Tinted seasons have lighter eye colors. Deeper (warm) seasons have darker irises,as deep brown or hazel. Both warm soft clients with same hair color, light brown/ light green eyes is a Tinted Soft. Brown eyes is a Soft Dark.

Now, I will try  to compare the descriptions Lora has made on pages opposite from the Warm palettes that interests me the most!

Returnining to Light Spring Soft from the yellow-dress-illustration on p.35. The Tinted Spring on p. 66 is not a redhead at all. She is a a rather subdued light. I would think she were a  Light Summer, really. Because of the grey cast over her  hair, skin and lips. But now she is a Tinted Spring /Light Spring Soft.: Value: light. Chroma: muted. Pure colors + tone of grey.

Shaded (Warm) Spring, p. 68. Value Light. Chroma Clear. Pure colors + Shade of Black Meaning her colors always darker side of medium. Girl on the photo has skin, not especially light, as I see it, rather a light tan. A medium-light skintone.  (with my own very fair but opaque skin as a reference. She has blonded her hair to a honey blonde, but you can see her darker, mousy, roots – so were she a Warm Spring from the beginning? —Her blouse in a flamboyant clear aqua pulls out her strong blue eyes.

The reason Warm/Shaded/ springs can have such clear colors is, of course that their skin is not so light after all. They must be tanned or naturally at least a few values darker than fair/light to be able to wear those strong colors well.

 

 

Now to the pages with the color square palettes. First, I pick the Warm (Pure) Autumn.

Although, a remark on nameing the seasons. Why is Warm Autumn called Pure, but Warm Spring called Shaded? Whilst Clear Spring is termed Pure and  Soft Spring is a version of Light Spring.

We are used to  put Warm Spring and Warm Autumn together when determining which Season we are. Shall we henceforth choose between Warm Spring (shaded) and Dark Autumn (shaded) instead? Or between Warm Autumn (pure) and Clear Spring (pure)?

Page 71 –Warm Autumn – Pure Autumn Palette

I put numbers on the squares – or you can maybe say ”stamps”? There are four columns and Eight rows.

So I term the columns I to IV

and the rows 1-8

II:1—- Lime Green ——looks Medium true green — a color I can have, anyway, but don’t look any Lime

III-3—-Mustard —donot look Mustard at all. Looks brownish light green. Like a  chartreuse color I saw in a magazine recently. I know what mustard looks like because it is one of my Power colors! Or can be compard with a light kind of olive.

I:5 Khaki – here it looks as Olive.

I:6 Jade – is Jade only another word for Blue Green? In Carol Jacksons book Colour Me Beautiful there were Blue Greens And Jade. So what’s the difference?

II:6 Coral. What does that color do here? It is blah on me!

Page 73 – Tinted Autumn – Soft Autumn Light

Topas III:1 could be one of My colors.

Then I come to I:3 Camel. Among my best colors, indeed. But here looks greyed and greenish. Can pull of that so called ”camel” well, akin to the Pure Autumn’s Mustard and khaki and Golden accessories as they are shown on p. 71 !

II:7 Warm Pink. Looks Neutral Pink to me. A warm pink should be more yellowed, and a cool pink more blue. Here I find only red tinted with white.

IV:5 Here I find Light Moss – one of my best colors.  But where is the mossy part? Moss to me is very near Olive – but lighter. Here it lies beside II:5 Light Lime Green. But the Light Lime looks neutral pure Green and the Light Moss a yellowish and lighter version of that Green.

Comparing Bronze: P. 71 …IV-7: Bronze that looks medium to dark warm brown. And the same color at P.73…III:6 a Bronze that is more in tune with the khaki, mustard, gold and camel I just mentioned.

And from the Shaded Spring palette on p. 69.

Coffee at I:1 – favourite color.

II:1 Lime Green – this is the very color of Lime that I recognize as Lime. So if it is possible to print this very hue, why not use it for Warm Autumn and Soft Autumn too? Or are they supposed to be that different?

I:3 – Warm Olive. ??? Is not the Autumns’ Olives Warm too?

—————————-

 

Well, I could continue much longer. But it’s late at night and have to qjuit here.

 

 

 

Annonser

Analyzing Zyla’s Archetype Descriptions

Again chapter six in David Zyla’s book Color Your Style

It seems like the ladies who get dress suggestions in Zyla’s book are fetched from some 1950s girl school, teaching how to get married to rich and eminent men.

Chara’s suggestion for nameing of the archetypes

Corresponding Colour Season..Zyla Archetypes…Chara Archetypes

Vital Spring……………………….Prom Queen…………The Hostess, or, why not: Beautiful Helena who in the Odyssey acts as a hostess to Ulysses’s son Telemachos.

Early Spring…………………Playful Princess…The Queen of Spring

Floral Spring……………….Wholesome flirt….The Rokoko Spring

Buoyant Spring……………..Life of the party…………………..

Mischievous Spring…………….Pixie…………………………………..

Tawny Spring…………………..Maverick…..The Creative Spring

Chara: Tawny Spring’s negative archetype: Princess and the Pea

Summers

Classic Summer……….Classic Beauty……………………………….the Ancient Beauty………

Jeweltone Summer…..Glamorous career girl………………………….

Sunset Summer………..Elegant Bohemian…Possibly a Creative Summer

Dusky Summer………Earth Mother……Possibly the Witch, Wise Woman

Renaissance Summer….Drama Queen.. (not a good description as Drama Queen mostly refers to transvestites, who, by the way could assume any of the archetype roles and many more)…………………………………………….maybe …………………….would be preferrable.

Iridescent Summer…..Mysterious Mermaid……………………………

Archetypes at the Party

Classic Summer: just have to walk trough the door to brighten up a room

 

 

Archetypes at Work

Classic Summer: high expectations of others and of herself. Quite demanding, because she, herself, gives so much

 

Archetypes Otherwise

Classic Beauty: harmony above all

Classic Summer, negative: things being out of harmony

Classic Summer: charming in public even to her archenemy, but privately describe her hatred for that person

Classic Summer: cool, put-together, ultra-feminine

Classic Summer: practical but prefers beauty over function

Classic Summer: all about appropriateness and protocol (because devoted to harmony)

Classic Summer: dreamy adventuress

Clothing:

Classic Summer: avoid high contrasts in larger garments, they will look restless and imbalanced. Languid elegant garments show her classic beauty.

Classic Summer: draped and folded creates an effortless, timeless effect of beauty

 

 

 

Analyzing and comparing the 24 archetypes.

SPRING

1. Prom Queen. 2. Playful princess, 3. Wholesome flirt,

4. Life of the party, 5. Pixie, 6. Maverick

SUMMER

1. Classic Beauty. 2. Glamorous career girl, 3. Elegant Bohemian.

4. Earth Mother. 5. Drama Queen. 6. Mysterious Mermaid.

Description analyzis

Prom Queen: Sounds like fun, -Negative: when something is not fun, she does not want to play

Playful Princess: strong sense of fun

Life of the party: this fun-loving type. While she is fun and game for most anything, a boots and leather look hardens her and limits the opportunity for the adornment of her favorite fashion element: herself (Chara: seems to be a bit of  narcissism there)

Pixie: evokes everything that is frolicsome and fun

Pixie:  shares her mischievous sense of fun with everybody at the party

Maverick: air of sprightly fun

 

Life of the party: I love being a girl silhouette

Prom Queen: charm, charm, more charm- but is it genuine?

Wholesome flirt: charming beyond belief, but their charm is always genuine. Chara adding: So the charm of the other archetypes is not genuine?

Pixie: like other Springs, the Pixie is charm personified -genuine?

Life of the party: playful, sporty, energetic, brimming over with high  spirits and good cheer

Life of the party: always a good cheerleader

Life of the party: buoyant energy

Pixie: the ultimate free spirit (free-er than the Maverick?)

Prom Queen: hostes kind of girl

Prom Queen: keep  (party)  crowd entertained, guarantees a great evening for all

while you are slaving in the kitchen – no archetype there, Poor ”you”.  No household styles for beauties out there? Only styles  for parties and love meetings. And possibly for female Office workers. All women in colour analysis books work as secretaries or have other jobs where they have to be presentable, for example tv-hostesses. But there are archetypes for people with practical skills who like to dig in on domestic chores. There is for instance the goddess Vesta, aka Hestia, the Roman/Greek guardian of the hearth.

Prom Queen: tend to lead with a smile

Prom Queen: radiate energy and magnetism that draws people in

Life of the party: knows how to draw other people out and encourage them to express their most cherished ideas and she makes them sound brilliant

Wholesome flirt: you fell good in their presence because they really do see the best in everything and everyone, including you, (Chara: ”you” who are slaving in the kitchen, matching no archetype at all.)

Prom Queen: charm her boss and colleagues into an arrangement that works well with everybody

Prom Queen: become best friends with everyone in the room five minutes after she has entered

Pixie:shares her mischievous sense of fun with everyone else at the party

Maverick: Quirkiest of all Spring archetypes, the Maverick is nearly impossible to pin down.

Maverick: Habit of zigzagging from one activity to another

Maverick: reliable and trustworthy

Maverick: method to her madness

Maverick: being a little ahead of the curve, bringing other people along

Maverick negative: can’t get past that niggling detail, the thing that tarnishes  the whole, like the fly in the ointment. Frustration with relatively minor things can spoil the whole thing. Chara adding: think of HC Andersen’s story ”The princess and the Pea.”

Maverick: views the world through other glass colours than rose. Has a unique perspective: sees the details where everyone else sees only a forest.

Wholesome flirt: have a gift for making you believe in their magic

Playful princess: instinct for what is important,

Playful princess: always get to the heart of the matter

Negative: Playful princess: Not being appreciated -causes Early Spring to droop like a wilted flower

Playful princess: ladylike, demure,

Playful princess: appealing coolness

Playful princess: slight formality

Playful princess: beautiful manners, air of ”to the manor born”

Playfull princess, proper

Life of the party: Hyperformality – not only in clothing

Playful princess: lively curiosity, playful inquisitive nature

Playful princess: tells silly jokes at job interview, delighting the interviewer

Pixie: works quite hard but unless you pay attention you might not notice

Pixie: may create the impression that a battery of elves magically completed her assignments overnight,

Pixie: always meet her deadlines, show up on time, comes through like a trooper – but her process for getting there might drive more organized types insane

Playful princess: good girl who has her share of ”pluck”

Wholesome flirt: lives for today and making the most of every moment

Wholesome flirt:, negative: becoming self-conscious in realizing making a mistake in the middle of making it

Wholesome flirt: coquettish, feminine, flirtatious

Wholesome flirt: seems like an enchanted creature having lived in a garden all her life and has decided to venture out into the world of more ordinary mortals –Chara adding: like someone from another world, that compares well with a female angel  coming down from heaven, or why not love goddess Venus who was born from the sea.

Wholesome flirt: so to say ”samples every flower in the garden”

Life of the party: Enthusiasm, everything fascinates her

Life of the party, negative: scattered enthusiasm

Life of the party: to avoid: Hyperformality – not only in clothing

Life of the party: any clothing that conveys queenly grandness, feels too serious for this fun loving type

Life of the party: urge to do something zany to break the tension of a too stuffy a party – result problematic or delightful

Life of the party: no matter what her real age, is always young at heart

Life of the party: the girl who genuinely enjoys kicking off her shoes at the end of day

Pixie: huge confidence in herself

Pixie negative: expects everyone to come to her, so can be a bit selfish

Pixie: avoid big ruffles, wide legged trousers, full skirted gowns, layered dresses – all of which make her look like a little girl playing dress-up or like a delicate pixie drowning in waves of fabric

Pixe: should avoid a too polished head-to-toe look and garments and accessories proclaiming ”I am serious”

Maverick:put together diverse elements in a way she could not possibly explain to anyone else. Will also put together her contrast levels in precisely the way she wants to.

Maverick: the type that can easily wear a feathered cloche, fingerless gloves,  a plaid capelet, all on the same time. If her outfit looks like a costume from the forest scene in Shakespeare’s As you like it, where sheperds and sheperdesses frolic, she will love it

Maverick: I am my own trendsetter

Mavericks take warning: never wear shades of the same colour, this is because the excange of energy between the similar shades is not dynamic enough, but creates a muddy effect, And: When you strip this energetic creature down to monochromatic minimalism, she will feel and act as though she is at a wake.

Maverick: eclectic style, best in slightly theatrical pieces, Chara: such as? And: needs to make a statement by putting together diverse pieces in unexpected ways.

Mavericks should avoid anything uniform or matched, for example matched blazer and skirt, she should never even own a suit. Should also pass on long flowing skirts and anything minimalistic. And on chiffon: she is too ready for action, and her energy is too high for the languid ”I go with the flow”-mentality of drapey soft chiffon which suggests genteel beauty rather than Maverick’s air of sprightly fun.

 

 

 

 

 

 

 

 

 

 

 

 

 

Behind the Archetypes

Continuing to examine the content of David Zyla’s book Color Your Style.

About chapter 6: the Archetypes. Where Zyla presents 24 different colour seasons, four main Seasons with six different subseasons each.

Now, I want to write about the 24 colour seasons and to leave the so called archetypes in the background. Because I do no think any of the archetypes is limited to one colour season alone. That would mean that people of a certain colour palette should be of one kind only. And it is absolutely not so. To pin people down in this way would be ever too easy.

What, definitely, is true, is that a person fits into a certain palette and that she does have certain bodily characteristics, that would place her in one of the capital styles, comprising of Natural, Classic, Creative, Dramatic, Romantic and combinations of those.

What Zyla does is to project certain kinds of being and behaving onto certain colour types. Springs being flirty and little girlish. Summers — Autumns—-Winters—. All of which he calls ”archetypes”. But archetypes are generalised patterns, not descriptions of individual women.

Because he does not present us with any palettes, I must guess what colour types lie behind the names of all the different colour seasons.

Beginning with Vital Spring, Zyla claims she should wear high and crisp contrasts, and primary colours, like red scarf and black coat, and white polkadots on blue umbrella. Which steer my thoughts to a rockabilly woman from the 50’s, and he also says this type is comfortable with 50’s styles and also with vintage clothing. Pure colours are those who become a Clear Spring, talking with CMB.

Now follows the so called Early Spring. She should wear pastelles of a low and gentle contrast, different values of same colour from head to toe. Spring pastelles meaning warm but light colours, and this should apply to the Light Spring of CMB.

The Floral Spring also has crisp contrasts, brightly coloured, which makes me wonder whether she to is a Clear Spring. So what then is the difference between Vivid and Floral Springs?

Buoyant Spring is the Beach girl: a shorts or capris and sandal type, and what she needs is a pattern that tie her outfit together. Is the contrasts weak or strong? In any case, she is of a Spring palette. There are some very distinct colours of the capri trousers and shorts being sold from catalouges and websites all over: they either come in strong bonbons like red, coral, rose, yellow, blue or else they are often bleached blue jeans with torn edges. The brights fit any Spring’s sun tanned legs and the blue bleached ones fit light and cold Summer’s. And since the type is a Spring, she sure will not be a light one. Remaining then, for our buoyant friend, the etiquettes Clear or Warm Spring. (Though all Springs are Warms, so would prefer to call the Warm Spring a Golden Spring or a Soft Spring instedad, because her colours are often subdued compared to her clear sisters.

Mischievous Springs should wear gently contrasting clothes, but sometimes she could have stronger contrasts, says Zyla. Any idea what colour season she would be? I have not. But I do considering style. She would be a bit of a Sarah Bernardh or a 20’s flapper, at least if wearing a feathered head band to a simple lined dress, which is one of Zyla’s suggestions for this type. Gentle contrasting means small contrasts, like very light tones, or very darks, worn together – or tones of close vicinity in the middle of the scale. Very lights should apply to Light Springs, very darks to dark ladies – but those are often Winters, or maybe darkly suntanned dark haired Europeans. Only dark Springs in the CMB system are the Clear Ones. The Mischievous Spring’s archetype, the Pixie, makes me remember the star of French film noir movies, like ”The last Breath”, Jean Seberg.

Tawny Spring women ought to be Warms. Warm/Golden/Soft Springs all names for the same colour season. Contrasts are what she makes them. Or rather, there must be different kinds of Tawnies, some pull of low contrasts, some high, some in the middle. To combine colours in any way, haphardsly, would not look good on anyone. it should say the Tawny Spring combine colours in any way that fits her. But that should apply to all other season types as well.

The Summer palettes:

Classic Summer. Classic is a main style category. There is also a Classic Winter. But, mind you, Springs and Autumns can also be Classics, so why not any such descriptions in the book? Classic Summers should wear gentle contrasts, values of the same colour from head to toe. A filmstar palette represented by Grace Kelly among others: she was the fresh, coolish kind of woman – a Summer of the light and cool type. Of the other women in this category, there are only Scarlet Johansson and Beyoncé that I know of. Scarlet giving a softer apparence than Kelly, and Beyoncé, obviously not being Light, maybe she is Cold or Soft Summer? Why is not Gretha Garbo here? She appears later in another colour cathegory, though I remember, her too, often being dressed in low contrast movie clothes. And then I come to think of Lauren Bacal, but she will also be in another category.

Jeweltone Summers are most contrasted of all Summers – which does not mean most of all Seasons. At her best, she will wear solid blocks of colour. This is what has been modern, recently. Colour blocking. Artist Jean Auguste Dominique Ingres bring about colours which I associate to the season of Soft Summer but also Soft Autumn. The Jeweltone representatives, Tina Frey, Andie MacDowell, Jaclyn Smith, Katherine MacPhee are all fairly soft, they have matte skin, so softs. But where are the jewel tones?

First medium contrast lady in the Zyla system is the Sunset Summer. Sunset bringing to life Autumn women, but here in company with Summers. But is she a Light, Cold or Soft Summer? Celebrities Julia-Louis Dreyfus and Julianna Marguiles. They are both light skinned, dark haired women, and so I wonder, why medium contrasts? Suppose Zyla knows what he is talking about when suggesting her clothes. Should absorb and reflect light: that sounds like the Moon to me.

Very low contrasts for the Dusky Summer. Dusky ought to mean Soft. I percieve Soft Summers as matte in complexion. So who are Duskies? Maggie Gyllenhall and Meredith Vieira. Pastell combinations. That is cool pastels as in the rokoko era. But there is the Light Summer, too.

Painter Maxfield Parrish’s pictures are fairytale-like illustrations with a Disney twist and in 3D, very strong colours. Which should apply to a real Jeweltone type and maybe to the Irridescent Summer. Nothing ”dusky” in those. Dusky Summers should not wear satin, because the luster of satin is too strong compared with her very moderate sheen – not any at all, as I perceive it, but matte.

Dusky Summer is mellow which means she is rounded and mature. There is also a Mellow Autumn. Should want to know where we ripe and fat ladies fit into the system? Are all round women Duskie Summers or Mellow Autumns? Should not think so.

Thought I might be a Renaissance Summer because of my colours’ likeness to Botticelli’s model Simonetta Vespucchi. But when I tried on a tapestry patterned jacket it seemed like an army jacket on me, stiff and the beige background to the rose pattern was much too cold and dissonant against my face. Maybe a golden beige. But the jacket in itself looked hard and my neck peeping out from an armor! So the style was not for me, anyway. But probably Simonetta should not dress in that style anyway, she should wear light flowing garments as in the paintings. Rich fabrics whos subtle lightplay accentuate the Renaissance Summer’s skin and hair. Although Zyla suggests for this type tapestry like patterns like in the Renaissance and brockade, her beauty brought to life by deep browns, teals and burgundies. Peter Paul Rubens’s art representing this type, though not extremely mellow – and Rubens painted a lot of mellow ladies! Deep browns and teals are also for Autumns. But burgundy being a cool hue is for Summers. Here, in the category of Renaissance Summer, he has placed Gretha Garbo, but also Cate Blanchett.

Even the Iridescent Summer should wear low contrast, shades of same colour from head to toe. Translucent, shimmering fabrics, chiffons. Water colours. These women are delicate and should incorporate silver iridescence in their outfits. Element: water. Iridescent comes from ”iris” another name for the rainbow. Rossalba Carriera, an 18th C. painter of rokoko women, see here. Another rokoko painter Fragonard represents the Floral Spring. The Swing, here.Bildresultat för fragonard This salmon colour is cool, not warm. She is rather a light Summer than a Spring.

Reaching into the next Season, the Spicy Autumn with the most blended look of all. She is spicy so most probably she is the Warm Autumn – all Autumns being warm, so I will call her a Golden Autumn, or, why not ”Spicy”? She favours muddy browns and greyish greens which she combines with colours of spice and flavour. Sounds a bit like me.

Mellow Autumn – aha, another mature girl, wears relatively low contrast. And this is of autumn colours! Low contrasts of hot autumn season colours! Twilights of an autumn evening in a dewy garden. Nothing harsh or cold. And not so very hot, either. That means, in my book, Soft! Soft Autumn.

The Gamine Autumn is one of the atypics, Tawny Spring being another. She is also of medium contrast. Wear one colour at a time and add prints for another.  Like a medium contrast paisley patterned summer dress.  She wears different kinds of silks – which are sheeny, for which her skin is adapted. Warned to not wearing classic styles, nor chiffon fabrics because this has no ”pluck” meaning Resourceful courage and daring in the face of difficulties; spirit, according to The Free Dictionary. Gamine Autumns have medium contrasts – meaning there is a noticeable discrepancy between how light their skin is contrary to their hair and eyes.

Copper Autumns like Rita Hayworth and Katherine Hepburn – low contrasts with a bit of drama like her metals.  Orange red too strong for her and besides it clashes with her red hair. Royal blue washes her out. Royal blue being a Winter colour. Orange red a dissonance against her hair, must mean she has a very strong red element in her hair. People with more orangey hair can wear orange red, it does not clash!

Bronze Autumn, Sophia Loren being one,  high contrast is demanded. If she wears one colour only, she should add texture. Long lines, assymetrical, dashing clothes suits her flamboyant, dramatic and exotic nature. Well, I understand this, to be a description of her style. The muses of Gustaf Klimt, light skinned females with strong dark features and thick black hair. Dark Autumns in the CMB theory.

High Autumn: to my surprise Zyla counts Jodie Foster to those. I really thought she was a Summer type, possibly a Soft Autumn in any case. But needing a vivid, high contrast look. I though Foster were a low contrast type. Dramatical and theatrical, a sweater of a certain colour could match the same colour in a pattern of a skirt.  One of the asymmetrically styled types. Textures, gentle patterns to the level of flamboyance.