The Space Between My Peers

With thoughts of cool and warm colors on my brain today, this magazine cover arrested my attention. Subtly elegant, note the effect of the composition: the models, in warm versions of “balanced” colors, stand out as in living color against the cool gray background.

Vanity Fair [2-year subscription]
Vanity Fair [1-year subscription]

What do I mean by “balanced” colors? Well, in my mind, I have always thought of red and green as colors which could be either warm or cool depending on the exact shade, or they could be warm/cool balanced. Other colors, such as blue or orange, are always either cool or warm. I mean, what’s a cool orange, right? One you just took out of the refrigerator … (bad joke!)

So just to test my theory, I looked at the Color Theory page of The Science of Dress, where I found no support for my mental meanderings, but instead found the following.

So, let us continue………….here is how it works:

After this, she goes on to show a beautiful, real-life model illustrating each combination. For both the cool hair/warm skin combo and the warm hair/cool skin combo she recommends using the hair color to set the color tones used in the wardrobe. For the balanced example she recommends using wardrobe colors which are either balanced or a combination of cool and warm.

So, after all this, here’s what I’m wondering: how many of us have always thought we must be either cool or warm, but are in actuality more balanced?

I know this: I have a strong preference for mixed color compositions, like the magazine cover here (which I think would also look good on a chocolate brown background, but then slightly cooler tints of color might be better). My daughter with the auburn hair has fair skin with alot of blue showing through, almost a purplish pink or magenta blush (like when her ears get pink); could be a warm hair/cool skin combo. My other daughter, who has always looked fabulous in cool colors such as magenta and navy, recently died her hair auburn and - guess what? - it looked great! I suspect a balanced coloring, rather than the cool which I have always thought she had. Both have green eyes.

So what about you? Could this really answer some long-held confusion? Or am I Adding To The Noise ? Next week, some simpler topics!

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Likely it is not necessary for me to explain why I have chosen this detour in my series on Vogue cover art. I’m sure you’ve seen the Uma Thurman in bikini, June 2006 Vogue.

So, why not do Oprah? For a dose of reality dressing, her looks are closer to where most of my peers live.

First principle I want to highlight is that of line in the body. It’s no secret that Oprah’s body is primarily soft, curved lines; notice how the smooth stretch fabric of her clothing harmonizes with her soft curviness. Perhaps you are already employing this principle in your own clothing choices.

• Identifying your body lines: Look for soft, smooth curves (like Oprah’s); harder, muscular curves; or the straighter lines of visible bones. Many people (like me) have predominantly straight lines above the waist and curved below; you could also be the other way around.
• Creating harmony with fabric: Drapey fabrics, such as smooth knits, flatter soft smoothness; crisper fabrics, such as cotton twill or linen, suit more skeletal bodies. In the case of the combination, my preference is to dress to match the top half (after all, the face is the natural focal point of every outfit).
• Creating harmony with tailoring: Among other considerations, line in the body contributes to preferences for straight or angled details vs. rounded lines in things like necklines and collar construction.
• Creating drama with contrast: Once you’ve assimilated this idea and feel comfortable working with it, you may want to try the opposite for dramatic effect.

Okay, now for something simple. How about the color harmony? Monochromatic (Oprah’s own coloring is monochromatic). And a bonus thought: Note how the line movement in the print relates to the lines and shapes in Oprah’s hair and features.

Ugh. I so wanted to do a helpful and analytical post. Unfortunately, due to Blogger issues, I have to be thankful for whatever this turns out to be. For some reason, I am unable to use preview. Oh well.

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In my series on Vogue cover art, my purpose has been to explain analytically how universal artistic principles apply in a contemporary application; then to explain to readers of this blog how they can use those principles to enhance their own unique beauty. The May Vogue featuring Keira Knightley on the cover has been in stores for awhile now (see more opinion at Fashionologie) and, honestly, I have been struggling for what to say …

How’d you like the new Pride and Prejudice? I’d watch it again.

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Due to the popularity of my previous Vogue cover art critique, I thought, “better late than never”, and decided to do this one.

Ms. Jennifer Aniston is the epitome of clean, outdoorsy, natural beauty; if I may say so, the kind of beauty men understand and appreciate most.

Notice how the cover artist(s) used repetition for emphasis:

• Line shape: The arch is the predominant line present in this star’s facial features. Notice how the hair is positioned to repeat the arch of the eyebrow and emphasizes the diagonal curve of the jaw. The drape of the neckline of the dress is a similar curve.
• Surface sheen: How else to pick up and emphasize the metallic glittery quality of the golden hair but with the golden strands of –since I didn’t actually buy the magazine this time, I know not what– repeating the texture of the hair. Her skin even appears to sparkle. (Speaking of sparkle: if only I could smile naturally like that for pictures, you people might actually see my face. Alas, glare is my normal pose for the camera.)

Do try this at home:

• Line shape: Choose hairstyle, neckline and construction details to be worn near your face that repeat the lines of your facial features you wish to emphasize. Also be aware that you may be calling attention to lines you’d rather weren’t noticed. Think flippy-outy hair next to neck wrinkles. Shudder.
• Surface sheen: Think of your skin and hair in terms of shiny or matte, and wear fabrics and metals which repeat the natural reflectivity (many people are combinations). Think prom dress vs. mother-of-the-bride dress.

One other thing: if availability decreases desirability, how can wearing a sheer dress be a benefit?

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So perfectly refreshing that it stopped me in my tracks, was that really a magazine cover without cleavage? Closer examination revealed a composition of simplicity and beauty.

What elements make this arrangement so aesthetically appealing?

Clothing selection: Natalie Portman’s pixieish crop significantly decreases the visual weight of the star’s hair. Thus, with her fair-skinned luminosity, the painted linen Prada balances her visual lightness.

Photography: Balance is not all about symmetry. Note how the neckline acts as a frame for the face.

Color: The overall beauty of the composition includes the background (matching the dress and framing the face) and the surrounding print layout (the black enhancing her hair and eyes, the pink bringing out her cheeks and lips).

Rip it off and take it home (not the magazine cover, the artistic concepts):

Visual weight: Choose clothing that harmonizes with your personal presence. Volume, texture, and depth of color all add visual weight.

Balance points: Simply stated, a neckline that is deeper than the face is long is a distraction.

Color: Try a neutral that is the same color value (dark or light), but not the same color, as your skin; accent with colors from your own personal coloring (eye, cheek, hair, or lip color).

Natalie Portman is a work of art, but so are you!

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