I owned and operated women's clothing stores in Davis and Sacramento, California for many years. Much of my life prepared me for writing this book -- from high school and college journalism classes, through art and design classes, to tailoring, designing and sewing for myself and my three daughters.
My stores, which were divided by color and style to correspond with the seasonal color harmony theory, provided an almost laboratory setting for the study of shoppers, who soon found their "comfort zone" in this unique setting. I was led to my study of color and the seasonal color harmony when almost immediately upon opening my first clothing store in 1979, I noticed many customers consulted color fans when selecting clothes. I also noticed that there were designs which sold well in some colors, prints and textures, but never in others.
The very first fall I was in business I purchased for the store camel corduroy "hacking jackets, somewhat fitted, with a high back waistband and leather patches on the elbows. As they say in the "rag biz", they blew right out of the store!" The next season when they repeated this highly successful proven body, the color selection was expanded. I ordered it again -- it had been a money maker. But this time, I got it in a new shade of camel and a very pretty rust, thinking "Those Autumn types will love the wide-wale cord, this very Autumny russet, and the leather trim."
Once again, the camel sold right out. The rust was tried on many times, but not a piece sold. I started analyzing, watching carefully just who was trying the rust jacket. Sure enough, the Autumn types were attracted to the color, but when I asked them what they didn't like about it, they unanimously articulated that it was "too constricting," "too fitted," "too skimpy". Even though they agreed the jacket fit perfectly, they were not comfortable in the cut of the jacket. As I came to find out, Autumn types, as a rule, like oversized or ample cuts that do not fit closely to the body.
This little bit of enlightenment led me on a quest to learn more about color, personality and style. Contrary to my earlier misapprehensions about "more rules and regulations" interfering with sales, an awareness of what was being taught by the various color consultants improved my buying and increased my sales. A knowledge of the very strong connection between visual design, personality and style also greatly enhanced customer satisfaction in my stores.
This book began as a training manual for the staff of my first store. As I analyzed, digested and categorized the information I wished to include, it evolved into a book that clearly discusses the seasonal color harmony theory, as well as its application to women's ready-to-wear industry.
In the process of compiling the information for my sales associates, I became aware that, although the book shelves are full of books on style, color and fashion, none of them includes complete detailed style information related to the seasonal harmony system for the consumer, much less for the retailer and the designer.
The color analysis fad has come and gone, but the principles on which it was based are quite valid. The Seasonal Color Harmony theorists postulate that best personal colors -- ones that are most complimentary to the eyes, hair and skin -- correspond to those found in nature in one or more of the four seasons. Many proponents of the theory also assert that people with similar coloring and personalities have a natural preference for similar design details, silhouettes, and fabrics, as well as color. And, moreover, that there is a correlation, a Color Connection, between them: just as each person has her own natural "inner style," each has her own natural "outer style" preferences that are related to her coloring and personality.
This natural inclination to fancy one style and/or color over another seems present in a person even when she has not had her colors analyzed. "Fancy" implies that one takes a liking to something without reason or rational thought processes. According to the theory, it is not caprice that leads a person to accept or reject a color and/or style, but a natural preference.
It is not uncommon for a woman to describe her wardrobe purchases as being "hit or miss" prior to color analysis, often feeling that she had made one wardrobe mistake after another without knowing why. A skillful color analyst (and even this book) will help her to discover the reasons for some of those clothing mistakes. For example, she may never have known why a style which she really liked when she bought it is one she rarely, if ever, wears. She may discover it is in one of her sabotage colors.
She may never have totally understood the whys and wherefores of her disappointment when a garment in one of her very best colors turned out to be an undesirable style. She may discover that while it may have been in a perfect color, the style was inconsistent with her inner style. Or perhaps the fabric has too much texture or be too bulky; the garment may be too skimpy or too overpowering for her visual design. With this new information, she should be able to avoid similar mistakes in the future.
From the Consumer's Point of View
From the consumer's point of view, this theory is a godsend. With a color fan in one hand and the guidelines in this book in the other, she can wander through a section of a department store or a boutique, glance quickly at the racks to determine whether any of her best colors are available. No need to try on and be tempted by styles that may be perfect if the colors are wrong for her. Even the bargain rack will no longer tempt her unless she locates one of her colors.
Once she has found her best colors, ones that are perfect in clarity, shade and value, she can use the guidelines to decide where the design is her style. She can clearly save a lot of "trying on" time if she knows in advance which styles are going to express at a glance who she is, which will enhance her visual design, and which will coordinate with the rest of her wardrobe.
She is not quite so apt to be influenced by either a friend, a salesclerk, or current color and/or fashion trends. If she complies with the guidelines, she will make far fewer clothing mistakes. She will learn when and how to "break the rules" and to what degree she can compromise and still remain true to her "inner style."
From a Retailer's Perspective
How do Buyer's Decide What to Order? How Do Designers and
Manufacturers Decide What to Produce?
Each season the market is filled with an exciting and sometimes not-so-exciting array of fashions. The novice might wonder how designers and manufacturers decide what to produce. They do a lot of "weeding out" before the lines are ever shown at market, of course. But, in the final analysis, it turns out that the middleman, the "retailer/buyer" ultimately decides what will be produced.
Designers put forth samples. If buyers place enough orders in adequate quantities, the styles from the manufacturer's point of view are "successful," and barring unforeseen catastrophes, such as the fabric's not being available, dye problems, quotas, etc., the line is manufactured and shipped. If buyers do not place enough orders, the styles will be dropped from the line.
And what about the buyers? How do buyers predict which offerings will sell in their stores? How do they know what to order? On what basis do buyers make their selections? Do they select what they personally would wear? What they think their customers will like? What sold last year? What the manufacturer's rep says is "booking" or "checking". (For the uninitiated, "booking" is wholesale jargon for what other buyers have been ordering; "checking" is what is currently selling well at retail in the stores where the items have already been delivered.) Is the predictability of fashion success elusive and shrouded in mystery? Is it dependent on fashion hype?
As a women's clothing retailer, did you ever wonder
:..why the same identical silhouette is right in one fabrication and wrong in another for the same person?
...why the same fabric is right in one color and wrong in another for the same person?
...why the same color can be right in one silhouette and wrong in another for the same person?
...why a good design is right for one person and not for another?
For the design to be "good" - "right" - "appropriate" - for the individual consumer, it must be not only in her best color with design lines and details that are "good" design-wise, but the style must be in harmony with her personality and body type. There is a style or combination of styles most natural for each individual, just as natural to her as her personality or her coloring. And, moreover, there is a relationship between the three. Just as we each have our own unique personality, our own unique "inner style", we each have our own natural "outer style" preferences that are related to our coloring.
Since there is a correlation between not only coloring and style, but personality, as well, it is predictable WHICH "seasonal type" will buy WHICH "silhouette" in WHICH "print", in WHICH "fabric" and in WHICH "color." -- an extremely useful bit of knowledge for a buyer to have.
The Color Connection theory is useful, not only in the designing and buying process, but in the selling as well. A sales associate can train her eye to quickly recognize seasonal harmony (or at least guess with a high percentage of accuracy) by correlating coloring with yin/yang qualities. She can assess those qualities by observing visual image, voice, walk, mannerisms and personality. And with this combined knowledge can often then guide even an "unknown" potential customer to designs suitable for her particular harmony. The secret is, of course, that if you learn to use the generalizations of this theory, no one remains "unknown" for long.
And for Designers
Designers may be skeptical of this theory. Perhaps they will even resent anyone's interfering with their artistic expression by suggesting colors for a particular design. The corduroy hacking jackets, mentioned earlier, is but one of many examples I could cite. It graphically explains the efficacy of the theory in designing and buying.
Blue-green is what is known as a universal complement. It intensifies and enhances the personal coloring of all types and invariably will be the first color to sell out in stores, as it can be worn by all seasonal types, although there will be shades or tints that are better than others for each individual.
Unfortunately, the universal basic dress has yet to be found inasmuch as each seasonal type, as well as each body type, has her own preferred neck styles, skirts, etc. There are very few, if any, designs that will be worn equally well by all of the seasonal types. However, I have found that a rather simple classic style, whether a blouse, dress, suit or sweater, in a middle value teal will often by purchased by all types. Because the color is flattering, they seem willing to compromise a bit on style. However, the four seasonal types will almost always accessorize the same item in different ways, and given their "druthers" they would each probably have the following individual style preferences.
1) The Winter type might prefer a very classic, uncluttered style or perhaps a very high fashion exaggerated look or one with a single focal point in a fine gabardine, a silk broadcloth, a smooth silk/wool blend or some other fabric that will not wrinkle too much or perhaps one that has a bit of luster.
2) The Spring type will take her teal dress brightened with white or yellow or some other light/bright color, perhaps in a sporty look. She will want it in crisp fabric and with small details, such as tucking, little white or contrast color buttons, or a Peter Pan collar or perhaps all three. The sleeves may or may not be gathered. She often will roll them up or push them up to give a rounded silhouette if the garment does not already have it. In addition, she will like a closer-to-the-body fit.
3) The Summer type will prefer a soft, pliable fabric with a more romantic quality to the design, e.g., some shirring off a yoke and at the top of the sleeves perhaps, and like her Winter sister, will want uncluttered lines and detail. She may like a softly shaped notched collar. She perhaps will add some lace, pearls or a cameo; she won't want a lot of little detail, such as patch pockets, little buttons, applique, etc. to interfere with her own design statement.
4) The Autumn type will prefer a looser fitting garment than the Spring type and in a rich combination of colors, such as teal with russet or orange or even green, and preferably fabric that has a firmness to it as well as a texture that can be seen as well as felt. She will like larger detail and a V-neck, banded, or notched collar, probably with a square effect at the shoulders as opposed to softness. She will enjoy the military or safari look with pleated pockets and even a pleat in the sleeve.
And then, each of the four will choose different types of accessories to make it even more distinctively her own.
Just as the four seasons are on a continuum I like to think of the seasonal harmony types likewise on a continuum. Think of the seasons -- from the late autumn/early winter when there are still a few autumn leaves around and the weather can't quite decide what it's going to do; mid-Winter alternating between persistent gray fog or rainy days to crisp snowy days that seem to encompass all the shades between shite and black with very littlecolor, perhaps a few red berries. And then, there is late winter/early spring when new leaves are beginning to appear on what had been dead-looking branches of deciduous trees. The days are a little longer, a little brighter, a little crisper and fresher looking. So it is with the seasonal harmony types in terms of coloring, in terms of style.
For me this was a logical way of explaining the variation in coloring and best personal colors, as well as why some people within the same season will prefer one style over another.
This continuum chart shows, for example, that the Winter type just coming out of Autumn has more yang characteristics, is more naturalistic, sporty or town and country-looking and may enjoy more texture, more assymetry, less conservative looks than a "target" winter type. Whereas, the late Winter type has more yin characteristics than either the Winter/Autumn or the target winter. She is often petite with a balanced figure, and may prefer the softer, more refined, more feminine, conservative styling, perhaps with fine dressmaker detail. Still sophisticated but with a touch of "pert!"
"The most expensive clothes you own or will ever buy are those you seldom or never wear...or clothes that make you feel uncomfortable or unsure of yourself. Only you can develop a well-defined self-image, but The Color Connection can help you to develop your own special look consistent and in harmony with that self-image -- providing a harmonious unified design and a total finished look." -- Joan Callaway
"...I've had my colors done, taken personal style seminars, individual harmony and advanced styling seminars, as well. It's as though you've put together all that I've learned in an easy to read, quick reference -- and you've included so much more. The illustrations are great. I'm recommending your book to all of my friends -- many who have not yet had their colors done. (But I'm not lending them my copy! To put it mildly, I'm impressed and grateful." -- Diane Taggart
"...by far the most complete guide to color analysis I've ever seen...and useful for the retailer as well as the consumer. Your suggestions turn fashion into a science - an previously only the most talented sales associates were able to distill such information and use it. By packaging it so cleanly and understandably, you've made it accessible to everyone. Practical, well guided and, above all, interesting." -- Carrie McLean, Retail Editor, California Apparel News
"...an essential reference. This book takes up where other books on color and style leave off." -- Ruth Tolman, World Modeling Assn. of New York.
Not just another book about color, the Color Connection has over 300 illustrations of clothing, jewelry and accessories with special emphasis on hair styles and facial characteristics, including drawings, black and white and color photos, all illustrating how one can create an "outer style" in harmony with one's inner style and one's visual design.
You can order your copy of The Color Connection today by printing out the Order Form and FAXing with Master Card or Visa Number to (530) 756-0522 or sending it with a check or money order for $19.95 (California residents add 7.25% sales tax) and $4.50 shipping and handling to Joan Callaway 808 Villanova Dr., Davis, CA 95616-1747. The book is regularly priced at $29.95, Internet special at $19.95. Satisfaction is guaranteed. You may return the book within ten days for a full refund if not completely satisfied.