ARMOCROMIA by Miriam Razza

Since ancient times color has played a very important role in the world of opera and theatre.

In every performance the chromatic choices are often specifically symbolic, helping us to portray characters, places and atmospheres.

…But can the same shade of color be equally valuing for everyone?

There are no colors that “look good on everyone” or colors that “don’t look good on anyone”: the secret lies in understanding the parameters that characterize a person’s eyes, hair and complexion.

And here comes ARMOCROMIA otherwise known as Seasonal Colour Analysis: have you ever heard of it?

Armocromia is a method based on color theory, which allows us to analyze the color characteristics of an individual: the aim is to identify the shades that best enhance our features.

Conventionally four chromatic seasons are identified, each with different characteristics and each corresponding to a reference palette.

In order to identify the season we belong to, we must take into account three main parameters that are analyzed during an Armocromia session: the undertone (warm or cool), the intensity (high or low) and the value (light or dark).

During the consultation, the client’s season is identified through the draping technique, which consists of placing sheets of precise color points next to the face.

Some are immediately very flattering, brightening the complexion and diminishing imperfections; others, on the other hand, are unflattering, darkening the complexion, dulling the gaze and flattening facial features.

This then allows us to define the subgroup and to build a personalized palette for the customer. Everyone has different tastes and needs, and the role of the image consultant exists precisely to help find the right balance between the needs of the person and the colors that they are enhanced by.

But let’s see together the aspects that characterize each chromatic season!

Read the entire article & many other interesting interviews here, in the anniversary issue of OPERA Charm Magazine.


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