For some, shimmer may appear artificial, especially if near to Soft Autumn. ![]() Metallic effects, especially in earth tones, is so successful on Autumn colouring that it may work well in makeup also. Here are the basics:Īre you a True Autumn? Look at Clinique lipstick in Paprika, Lancome Couture Suede, and Revlon Sandalwood Beige. The colour palette offers many options for cosmetics. A warm gold eyeshadow, placed as a dot in the center of the upper eyelid, just above the eyeliner, then covered with the neutral eyeshadow, adds dimension and accentuates the gold. They also can have metal colors (gold, copper, bronze) in the iris of the eye, a most amazing effect, and even more when repeated in the natural highlights in the hair. Pink blush is not ideal, but a touch of warm gold creates golden russet or adobe blush, which along with the bronzer, is hard to beat. Bronzer is a fabulous way to heighten the warm burnish of the skin. The skin of True Autumn wearing her colours appears lit by an Arizona sun. True Autumns are often practical people who don't care for show and fuss and may need time to get comfortable with the glowing warmth. Pumpkin, curry, warm turquoise and teal, deep periwinkle, and bronzed red and purple are a long way from dreary. Are the colours drab? Maybe if the only colour in the outfit is army green. Gold is grayer than yellow, hence the earthier colours of Autumn relative to the fruit salad feeling of Spring. The warmth gives a look that is so rich that colours, alone and together, may seem brighter than they are. The unity of the colours is created by gold. As with Summer, colours are still softened, including the dark ones. It is when the entire palette is fanned out that we perceive more overall darkness. The palette colours reach a darkness level similar to that of coffee. True Autumns generally look medium in darkness. In 12 Season colour analysis, the natural colours of 3 to 4 times more people falls into the 8 Neutral Seasons, meaning the blends of 2 True Seasons. ![]() Again, it is fascinating and telling that here in Australia, the designers of our seat of national government looked to the native tones of the land and used them extensively in order to convey a sense of harmonious natural authority in the new building.True Autumn is one of the 4 True Seasons. The scarf is Vintage Liberty, and mixes neutral-warm earthy reds, browns, and grey and creams. ![]() Here we see 12-Tone Corporate 6.7, which is close to My Pashimina’s Heron colour. The warm seasons in general are often surprised to discover their blues and purples, which for SA centres on neutral-warm periwinkles, grape-aubergines, and slightly greened marine colours. We began by comparing the soft autumn tone to the colours of much of the Australia landscape, and it is interesting to note that this soft, warm-neutral environment inspired the colour scheme for the upper and lower houses of Australia’s new federal Parliament House, where the designer took the traditional reds and greens of the Senate and House of Representatives, lowered the chroma, and arrived at something very close to the Soft Autumn versions, two of which are seen here with one of their greys – Jacket (Corporate 4.9), top (Classic 3.9), Skirt (Corporate 3.5): Another option is of course the extended range of grey and charcoal hues (4.1-4.5) from the 12-Tone Corporate palette:Īll of the tones gain authenticity and assurance when they respect their own tonal dignity, and in turn the wearer’s natural tone transforms their colours into the most appropriate and compelling of options: the colours are perfected by the wearer. Soft Autumn’s (SA) natural range is earthy, and their colours are those of the Australian scrub and the bush.įor maximum formality and simplicity, our Soft Autumn CEO might try something close to their darkest neutral brown (Corporate 2.3 or 2.5) or tonal black (Corporate 4.5), paired with a light value tone such as a neutral/warm soft white (Corporate/Classic 1.1) or ivory (Corporate 1.2) that is close to white but much easier to wear. If there are two seasons that struggle with the value extremes and contrast of formal monotone, it is those lowest in chroma – the twin softs.
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