When color professionals gather
Imagine spending 2-1/2 days in a roomful of 32 color (and image) consultants—31 women and one man—most with decades of experience and broad training. Each of us is crazy about the work we do--bringing the essence of our clients to life and beautifying the world, one color palette at a time.
That's where I was last weekend: at the annual CDI conference (CDI=Color Designers International). All of us use an updated version of the sophisticated analysis process and "seasonal harmony" system created by designer Suzanne Caygill in the 1950s.
True confession: choosing what to wear to such a conference can be intimidating. You just KNOW that others are scrutinizing your outfit, secretly or overtly. Is the color bringing out their best? How about their accessories? Are they dressing in the styles that reflect their seasonal designation? (She thinks she’s a Summer, but she sure acts and dresses like an Autumn…). Overheard:
“That deep plum is dynamite on you!”
“I LOVE that scarf! But isn't it a little strong, now that your hair is gray?”
“Wherever did you find that jacket?”
Darren Chappell, our lone man, (a Spring!) is completely comfortable among the gaggle of women. No surprise, he is one of our most skillful practitioners. He thinks I need to brighten some of my colors, because I’m more animated (Springy) than most Summers. White hair and pale eyebrows (low contrast) make it hard to plead my case as a closet Winter, but once upon a time I tried that too.
His presentation focused on using pattern as a tool to pinpoint the correct season. Just because someone has the sprightly color palette of a Spring, for example, doesn’t always mean that’s who they are. Personality, facial structure and aesthetic preferences also matter. Below, my colleague Karen Snow and I play with monochrome pattern examples. Karen, a fellow Summer, looks better with the fluid lines in her pattern sample, though the contrast is too high.
The cherries match the cover of my book, The Cherry Pie Paradox, but I think I'm too angular for this Springy pattern.
A presentation by Lisa Gaines, another of our African-members, helped us better understand the palette shifts needed for people of color. She noted that African-Americans often feel unseen (duh!), and compensate by having Attitude and wearing strong Color. We may have to talk them into slightly quieter palettes than they might wear in Africa, so they shine, rather than having their bright clothes wear them.
Mary Lou Manlove, with whom I’ve studied, introduced us to color-mixing using Cyan (turquoise), Magenta, and Yellow (plus Black=CMYK, used in print and fabric dyes) instead of old-school Red-Green-Blue (RGB like computer monitor pixels). Her system helps us figure out the composition of the undertones and subtle hues we work with in color analysis (those muddy dots near the middle of the wheel).
Andrea Serrahn (an Autumn to the max!) showed up with a vibrant selection of clothes she designs and has custom-made in India for her fabulous Oakland store, Serrahna. Many of her tops are fashioned from up-cycled saris. If you want a unique piece, you’ll find it there. I succumbed to the simple coat I'm wearing with Darren—but if I didn’t live in super casual Portland I’d have bought something a whole lot wilder.
Finally, I brought a box of The Cherry Pie Paradox to sell, and many were bought. My son, Wylie, designed the brilliant tri-fold display, using illustrations from the book.
SPECIAL OFFER !!! FREE AUDIOBOOK! For owners of the book or the workbook. I’ve found a new home for the audiobook version, where I can set the price however I want. <<First Name>>, if you already have a copy of the book or workbook and would like the audiobook, just email me (joy.overstreet@gmail.com) and I'll send you the info. If you do not yet have the book and want to buy it, Venmo me $20 @Joy-Overstreet, and I'll mail you a signed copy and the audiobook link. (Use the email link above and add your name, address, and any message you'd like when I sign it.)
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