XXXVIII.
HARMONIZING COLORS IN DRESS.
BRUNETTES.
IN the last chapter we noticed the colors most appropriate and harmonious for the fair and the ruddy blonde. We shall now note a few peculiarities of the pale and the florid brunette.
In the pale brunette, the eyes and hair are usually a deep brown or brown-black, and the skin pale, often with some sallow shade. With this peculiar complexion, light or very dark colors are the most becoming, because the light colors harmonize with the tint of the skin, and the dark colors with the hue of the hair and eyes. Thus we follow Nature’s coloring, and sustain her effective contrasts. When the colors of the dress are a medium between the skin and hair and eyes, they “reduce the expression, and injure or destroy the greatest charm.”
Black being similar to the color of eyes and hair, and a perfect contrast to the complexion, increases the purity of the natural tints, and is very suitable for the pale brunette. All the shades of dark brown being similar to the hair and eyes, are also appropriate. Claret, dark russet, and crimson are not unsuitable, but less desirable and becoming than black or brown.
Positive blue, green, or purple must not be used; but dark blue, green, or violet may be accepted, provided the complexion has no shade of yellow or sallowness. If there is, these colors must all be avoided.
White, being analogous to the hue of the skin, is very desirable, enhancing the richness of the eyes and hair, and, as it receives a yellow tint from artificial light, is particularly desirable for an evening dress for the pale brunette. Yellow and white united are also becoming in the evening for this class of complexion, but become dull by daylight, and very undesirable. Gold or maize color contrasts pleasantly with black or dark brown eyes and hair, and neutralizes any disagreeable sallowness that there may be in the skin.
The florid brunette often inclines to the olive complexion, and, in many cases, to the copper-colored, or subdued yellow, or orange-brown, with more positive red on lip and cheek than in the blonde types. The eyes are black, the hair jet or blue-black. The tones yellow, orange, and red predominate in the florid brunette, and harmonize together by analogy or similarity; but they also harmonize with the black hair and eyes, by contrast; therefore great care and good judgment should be exercised, lest this agreeable group of harmonizing tints should be weakened or destroyed by the use of objectionable colors. On the other hand, it is desirable to seek to neutralize any unpleasant tone in the complexion, caused by too much yellow, which will otherwise give a sallow and unhealthy tinge to the skin. Yellow, maize, or gold color will effect this; because, while they contrast favorably with the color of the hair and eyes, intensifying their richness by the purple tint which this combination forms, they also harmonize, by analogy, with the tints of the complexion, and at the same time sufficiently neutralize any excess of yellow that these tints may exhibit. When the skin shows more orange than yellow, maize or yellow in the dress will enrich the complexion by the increase of red which these colors will develop.
A yellow bonnet is very becoming to the florid brunette; but as it is worn near and surrounds the face, much of its effects must be neutralized by introducing violet, purple, or deep blue as trimmings; they must not come in contact with the face, however, and should be used very sparingly.
Orange is too brilliant and gaudy to be used in dress, except in very small quantities, and the same rule holds good of red, scarlet, bright crimson, magenta, and all brilliant colors of the like class; they, with orange, are suited to some complexions where it is advantageous to neutralize, but they are too bright for general costume. A scarlet head-dress is becoming with dark hair, intensifying it by contrast, and by the purple shade which it adds when worn near black. Dark red, also, is suitable for complexions that have too much red on the cheeks or lips, neutralizing the color of the skin, and reducing it by contrast. Violet is not agreeable, unless its bad effects are controlled or counteracted by the addition of yellow; but the dark shades of violet are less objectionable than the positive color. A violet bonnet may be used with this type of complexion, if trimmed with pale yellow,—primroses, for instance; the flowers being a good contrast to the violet bonnet, and harmonizing well with the skin.
A black bonnet is not as becoming for the brunette as for the blonde; but by using white, red, orange, or yellow trimmings, it is quite pleasing. It enhances the red by reducing the lighter tints of the skin, but it has no power to neutralize any objectionable tint that may exist. White is more favorable than black, and accords well with this complexion. A white bonnet is suitable, if trimmed with red, orange, or yellow; but the yellow should be mingled with white only for evening wear.
In grouping color with color, nothing is more common than to see discordant tints placed together,—purple and green, for instance; and however rich the material or beautiful the wearer, such incongruity is exceedingly distasteful. In arranging colors, it should be borne in mind that there are two kinds of harmony,—the harmony of contrast and the harmony of analogy. When two dissimilar colors are blended agreeably, such as blue and orange, or lilac and cherry, they form a harmony of contrast. Two distant tones of one color, such as very light and very dark blue, associated, harmonize by contrast; but in this latter instance, the harmony is neither so striking nor so perfect. When similar colors, such as orange and scarlet, crimson and crimson-brown, are grouped together, they form a harmony of analogy; and if two or more shades of color, closely approximating in intensity, are associated, they harmonize by analogy.
Harmonies of contrast are more effective, but not more important, than those of analogy. The former are brilliant and decisive, the latter quiet and undemonstrative. Both hold equal positions in matters of dress, and in arranging the colors of the costume be careful to choose the proper species of harmony.
There are two rules to be observed: first, associate with colors favorable to the complexion tints that will harmonize by analogy or similarity, because contrasting colors would diminish and injure its favorable effect; second, if the color selected for the dress is injurious to the complexion, then contrasting color must be associated with it, to neutralize its objectionable influence.
There is much more to be said on the selection of colors for dress, but we must not trespass longer. We hope that, by our having thus called attention to this subject, our readers may find it sufficiently interesting to become familiar with the rules given, and carry the lessons it may have taught into practical use.
We are very largely indebted to “A Manual for Ladies,” by W. and G. Audsley, for much of the information grouped in this and the preceding article.