After a weekend spent bickering with William about the merits of owning a pair of loafers and 3 roll 2 jackets I have finally found the time to complete my piece about the second of the two approaches to colour: harmonising tones. Though the more difficult approach to colour it is also the more creatively rewarding (the first can be found in Fundamentals: Colours – Part 1).
Harmonising tones
Harmonising tones is an approach to colour that involves matching the level of contrast present in the tones of the cynosure with the level of contrast present in the tones of one’s complexion in order to increase the face’s expressiveness.
By ensuring that there is the same level of contrast between the tones of the face and the cynosure, i.e. that there is harmony between the tones, the eye is drawn back up to the face thus increasing its expressiveness.
Complexion Classes
The first step to harmonising tones is to identify which complexion class one belongs to in order to appropriately match the same level of contrast in one’s complexion with the same level of contrast in the cynosure. Too great a contrast in the cynosure can overpower the face’s expressiveness while too low a contrast can drain away the face’s natural vitality.
Alan Flusser, menswear author, has identified the following classes:
- Low Contrast (combination of light tones)
- light-bright (fair skin and bright features)
- muted (uniformly pale tones)
- Medium Contrast (combination of light and deep tones)
- High Contrast (combination of light and dark tones)
Low Contrast
Low contrast complexions are complexions featuring a combination of light tones. Low contrast complexions features light-bright and muted complexions as sub-classes.
Light-bright
Light-bright complexions feature fair skin and bright features for example blonde hair or blue eyes. Since these complexions are easily drowned out by contrast, the tones in the cynosure should be kept low but feature a bright element – such as the green tie featured in the photo below – to bolster the face’s expressiveness (see also Tom’s Summer Lovin’ photos).
Muted complexions
Muted complexions are those which feature uniformly pale tones. They require a delicate approach to colour in order to ensure the face’s expressiveness is maintained as they are extremely sensitive to contrast.
Prince Charles, is an example of someone with a muted contrast complexion. Charles wears a light grey double breasted jacket with pale grey, candy stripe shirt and jacquard tie: an example of royal propriety at its finest. The low levels of contrast in the cynosure ensures that his face’s expressiveness is not overwhelmed. A master of English understatement, Charlie has added vitality to his sober ensemble with a cornflower blue boutonierre without drastically increasing the contrast level of the cynosure.
Medium Contrast
Medium contrast complexions feature a combination of light and deep tones. The word deep has been used to emphasise the depth of tones as opposed to their darkness. A dynamic combination of light and deep tones in the cynosure matching the level of contrast in the complexion will increase the face’s expressiveness.
Here, Roger Shamoun has harmonised tones by matching the tones of his medium contrast complexion with a sand coloured, double breasted blazer, white shirt and blue grenadine tie. The even level of contrast between the tones of the cynosure and the face help to pronounce the expressiveness of Shamoun’s visage. Note the subtle linen pocketsquare which picks up on all the tones of Shamoun’s hirsute visage (see Fundamentals: Colours- Part 1).
Gerry Nelson has employed a similar approach but has selected darker tones to match the higher level of contrast in his complexion.
High Contrast
High contrast complexions feature a combination of light and dark tones. They are best served by featuring a combination of light and dark tones in the cynosure to bring out the face’s expressiveness.
Taka Osaki, has adopted a classic combination to bring out his face’s expressiveness. To match his high contrast complexion Taka has opted for a combination of light and dark tones with his white shirt and burgundy foulard tie framed by the peak lapels of his French navy double breasted blazer. This simple but effective and reliable combination complements the power of his high-contrast complexion and helps to underscore his face’s expressiveness (see also David’s Of Contrast and Colours post).
Individuals with extremely dark-complexions like Ozwald Boateng, are best categorised as having high contrast complexions despite not fitting the description of high contrast complexions as involving a “combination of light and dark tones”. This is because the darkness of their complexion ensures that a high level of contrast will nearly always be present when the eye takes in the face and cynosure despite the low levels of contrast present in the face itself. Since higher contrasts are inherently more expressive individuals with extremely dark-complexions should adopt the same approach as those from the high-contrast class.
Well, I hope this has served as a clear and logical introduction to colours, and that it has improved one’s “colour game” – as Mike insists on calling it. A proper understanding of colours is the first step to understanding style and is its most valuable pillar. Do experiment and be ambitious without being too ridiculous; keep the peacocking for the festivals and on campus but out of the office.
Onwards,
G.B.
(photos via. Scott Schuman, Giuseppe Santamaria, Gerry Nelson)