I’ve seen people say things like Bright Winter was the only way they were visible under the heavy lights used during the draping, or that Bright Winter ended up as kind of a default because it was the closest to providing what they needed. Many people feel that 12Blueprints produces too many Bright seasons. I had had my doubts about the 12Blueprints way of doing things for a while. The colour harmony is too compelling.Ī toast to colour analysis for reclaiming your power.At first, I was excited about the prospect of a new voice in color analysis in the US. And perhaps most of all: It’s impossible to be invisible in your colours, whatever your glorious age.It turns out there are hundreds of colours in a season my colour analysis made my world bigger, not smaller. Having a system for choosing clothing colours has made shopping so much simpler – and a system that is anchored to me, not some arbitrary fashion-industry standard.It has felt deeply game-changing to have a compass in the world of makeup. Blush that melted into me, and lit up my eyes. I saw that there was lipstick that was magic on me, that looked belonging.I was able to let go of the toxic myth that I hadn’t even realized I had absorbed: that there are a few lucky elite who are truly beautiful, and the rest of us have our fleeting moments. Valentine’s Day, I was brought to tears when I saw how beautiful my own hair was next to my colours.
#12blueprints best makeup colors true autumn skin#
It wasn’t about any preference – it was about what made my skin glow and my eyes look like jewels. At the analysis, I absolutely SAW why I was a Soft Summer (a colour family based in cool Summer colours with a touch of campfire Autumn warmth), and not anything else.After only a few weeks of reading, I made the leap to book a colour analysis session. The “aha” realization for me was that colour harmony also applied to a person, and their clothing colours. Or in the way the colours in a rainforest all belong, as do those in a desert, just not together in the same landscape. That it’s what we intuitively respond to in, say, the paintings of the masters. The 12-season system made so much sense to me: That colour harmony is very real and science-based. It was then I discovered there was a Canadian guru of modern colour analysis: Christine Scaman of 12Blueprints. And what about the make up or clothing colours we wore (whether deliberate or random, ha), would those need to change? Most of us worried about looking older or washed out, whether it was from silver sparkles, or like me, from having what the world called “mousy” hair. I found a forum of women wanting to do the same. Until one day it was just time to stop colouring and see what my natural colour looked like. The colour had lately seemed… too intense? I didn’t quite have the words, but it felt off. It surprised me when I began to question, in my 40s, whether the henna-red still looked good on me. And by then, it had become part of my identity. People often assumed it was my real colour – well, for the first few years anyway. I’d first tried henna in my late 20s, as an impulsive summer adventure – and it turned out I loved it, so I kept it. Looking back, I think I reached the unspoken conclusion that many of us do: it was me that was somehow the problem…Īmid years of clothing colours chosen essentially at random, there was a drift towards strong autumn colour palette thanks to my henna-red hair. Or why all those 80s jewel-tones I loved on the rack were always somehow dissatisfying when I wore them. Funny that it didn’t occur to me to wonder why that was, when I saw friends that looked smashing in white. And yet, I also remember getting ready to go out dancing, in the trendy look of men’s long shirts over black leggings - and realizing I should NEVER wear stark white. Along with makeup and fashion or style in general, it just felt like it had nothing to do with me. I can remember hearing about “seasons” back in the early 80s at university, but it never engaged me.
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