The colors for clothing you buy can be very important. When I was a young woman in high school, I had an aha-moment of self-discovery about clothing colors. I would like to share it with you, about what I learned. Prior to that moment I had just a little experience and knowledge, regarding color but not color analysis. At that time I only had intuition born of art studies, and reading fashion magazines.
One day I was on a long shopping trip to fill out my winter wardrobe, having a look at outerwear for the cold season. This was in New York, so I wasn't expecting to have to purchase a big storm coat. Although I enjoy shopping, apparently more than most, even then, I was very assiduous about what I was getting when making an actual purchase.
I was doing the usual of pushing hangered clothing one piece at a time to the left on their bars, when I finally spotted something I really wanted. It was a beautifully made, 100% wool, vaguely camel-colored, tailored, street-length, beige satin-lined coat. It was colored just right, too, as it would go with just about everything else I would wear with it. Perfect! And well-priced. Into the fitting room I went, tried it on, the perfect fit! Excitement building, I went to the cashier and bought it.
When I got home, I started to put away my new clothes, saving that coat for last. I put it on and really looked at myself in the mirror, in the natural daylight ambient in my room. What a surprise, I thought in alarm! I was amazed that it made me look sallow, overweight, dowdy, and somber. Even the beige satin lining was just too mild and neutral a color. Depressed, I concluded this was just not me. What was I thinking of, to have bought the wrong coat like that?
It took awhile to calm down, and confront the fact that camel was not a good color for me. I had never quite appreciated or thought about color in that way before. It was surprising to find out a common coat color like camel would just never work for me. I had to return the coat that I could never love.
Then later, when looking at dresses, I came upon one of a rather unexciting dark teal color. I tried it on anyway because I was starting to become aware that that the knitted sweater-dress style it was in was flattering to me. Normally, I would never have bought a dress like it, in a color which was not particularly fashionable. But since the revelation I had had with the incorrect camel-colored coat, I decided I would buy the blue dress anyway.
What a success! It was an unhappy day when I couldn't wear the dark teal dress (usually because I had just worn it the day before). I will always remember how comfortable and just-like-me it made me look, and a very becoming color! It made my complexion look fresh, and defined my looks away from a sort of wan vagueness. Somehow, the color and style even made my hair look prettier. And certainly it boosted my self-confidence. My so-far lackluster romantic life also improved. I became involved with a wonderful man, who proposed to me.
Since those days, it has never left my mind when clothes-shopping, to keep color and style in mind when making buying decisions. This is what predisposed me to more fully investigate the subject of colors affecting your beauty, leading to modern color analysis.
Later, in Los Angeles, after having my two children, I was joyous to learn that color analysis was actually a subject other people were interested in, and wrote about. To me this was good news, as I had had a little difficulty dealing with the problem on my own, and I was seized with curiosity. I welcomed an additional and professional viewpoint on the subject. I took a look at the books that were available.
But even the one with the most detail, appearing to offer the most precise information, left me alone, cold, and confused. What a disappointment! I muttered to myself and my husband that although the books were interesting, I could have done a better job of it myself. It seemed practically impossible just getting to square one, which would be one's basic season: Spring, Summer, Autumn, or Winter.
Yet, there was no better information available.
I went on through the years, deciding quietly to do my own process of research and discovery on color analysis. I called upon my (fortunately) extensive experience in meeting people from all corners of the earth, anthropological studies, and drawing and painting skills.
It is history
-- and not necessarily my own, either! To make a long story short, I
was learning that colour analysis is directly related to the genetic
history of mankind and its colorations. Of course, why didn't I think
of it earlier?
My first observation was, there are numerous kinds of Winters (brunettes) in this world. Also there are more of them than any of the other seasons. This was overwhelming news. By opening the door to myriad brunette colorings internationally, and not seeming to directly solve the problem of, what colors are best and look right for Winters, I was confounded. I was reminded of the moving lyrics to Lee Ann Womack's song, telling me,
"I hope you never lose your sense of wonder... I hope you still feel small when you stand beside the ocean."
A True Story About Color Analysis continued in next column...
A True Story About Color Analysis continued from first column...
After further investigation, how the standard-issue, art school-taught color wheel was present and useful in Color Analysis, was shaping up like a color pizza. I was finally able to establish certain things about each one of the colorings, making progress.
I found that most people are primarily one season, and recessively another one. Here is an example of a girl with Autumn, Recessively Summer coloring:
This really threw another new development into my Spring, Summer, Autumn, Winter theory of colorings, but so well! Now I could do perfect colors analyses, and it was like a homecoming! Here are some samples from the book, on how this works:
Most people liked my work, but the task was not without danger. I was stepping on someone's blue suede shoes by tinkering with the four seasons theory, which some beauty businesses are still struggling with. Although I actually did the work partly for their benefit, since I thought it would be a big help to them, apparently some thought of me as stiff competition, and treated me as such.
Not only that, it became evident that certain people were routinely underhandedly copying my ideas about color, even as I was just writing them, for the benefit of their own interests.
To top it off, I learned that intolerance and racism are not restricted to any particular nation; and it did express itself against me occasionally as I worked on my inter-racial theories.
But, by moving ahead, using anyone I saw as a model, soon the whole problem began to yield significant answers. Using the anthropological method of being a Participant-Observer, I found underlying principles of inherited coloring. They answered and transcended racial, political, and cultural questions and boundaries. But those principles did not transcend families! Even the gigantic category of the Winter families began to unfold, like a map, before my very eyes. In the words of Ralph Waldo Emerson,
"Relation and connection are not somewhere and sometimes, but everywhere and always."
I was sincerely and profoundly amazed at the research and discovery results, and soon realized I should write them down for the general public to read, know about, and reap the benefits from. I knew there were others who had had similar difficulties in analyzing their own personal coloring. These are the same as the ones I had, and you can obtain the same rewards from what I have uncovered. For not only did I find my own individual inherited profile, Winter Recessively Spring-Autumn, I also found the way for anyone, including you, to find theirs! And one can do it without experience, prior knowledge, talent, or scientific training.
The writing and publication of these books were in themselves an exciting history-in-the-making adventure. I am happy to share the results with you, my readers. That is made possible, now and always, by my incredibly helpful publisher, whose name should be in lights.