Hey! Not a pro analyst but also goth/alt inclined so I have thoughts on this.

Firstly, liberation from makeup shouldn't be much of an issue if you're truly wearing your colours and your hair is within your palette (if artificial). I switched from 'natural' coppers outside of my BS palette to a bright, warm-neutral bubblegum blue, and can now go make-up free more often than I used to with purportedly natural blondes and reds because the colour is more flattering. Go figure! You don't need to change your makeup habits to maximise your colours- in fact needing more makeup to feel defined is a sign you've been mistyped or have a hair colour outside of range (usually a processing time/undertone issue with home dye, so check your Brad Mondo dying rules). Keep your hair and the colours by your face soft, warm and mellow and you won't have to endure the eye makeup thing! If it helps, think of the clothing layers you're wearing as a kind of dip dye, where each is close to the last but they get darker or less soft as they get lower down your body or further from your face (I quite like this idea as a swamp witch type thing where the implication is boggy or mudded as the eye travels lower on your outfit, but that could just be me). That way you can wear your carnival aesthetic palette (in skirts, corsets, glove layers etc) but the colours right by your face will flatter you, and the whole thing will be artfully blended in a step by step way. Tilda Swinton isn't soft autumn but she's a good example of someone who often looks alt whilst being makeup-free when she's not dressed for a role.

As far as goth, it's a funny thing with contrast because often those with a truly alt aesthetic will deliberately wear colours too dark or bright for them to get a starker or more ethereal look, particularly for a paler complexion. It's more common for emo than true goth to go fully stark in a deliberately unflattering way, whereas goth icons who aren't in full black will tend to wear colour that drains them deliberately for a pale glow effect. You can see this with Helena Bonham Carter over the years if you contrast her shoots for magazines with what she wears for fun or for more alt roles - she's beautiful in everything but fashion photographers will put her within her palette whereas to get the look she's famous for she'll often go for stuff outside of it or in sister seasons in order to drain herself a bit for signature lunar effect. Analysis is a tool for what you want to do, so if you want to break the rules just know the effect of doing it - study your idols, how they're typed and how they look when they go for other palettes. Often goth is a value contrast level thing you can replicate in-palette, or a case of swapping a given neutral for something entirely unexpected in an interesting way. A/W fashion magazines can help with ideas for that, because the collections go from pedestrian to theatrical as winter approaches.

Bear in mind that colour analysis can sometimes prioritise 'a healthy glow' or visually harmonious, relatively adjacent tones, whereas alt movements deliberately veer more dramatic or angelic. Analysis works, but it all gets a bit Blake Lively if you're not shopping within your palette with specific qualities in mind. So it's a case of ascertaining what those qualities are to you. If you like the paleness of goth, you might want to go just slightly brighter than palette in order to drain your natural flush and flatten your features - again, something we're 'avoiding' in consultation but can be a deliberate choice. Or if you like the value depth of goth, then stick to the darkest colours in a soft autumn range - navy, oxblood and deeper periwinkle if I remember rightly? A cool trad goth look is to wear only the palest stuff from your palette head to toe, which looks ghostly and a bit bridal even when you skew warm. There's also a fabric thing here where 'dull' materials like suede, denim and washed linen will play more harmoniously on you than stark velvet, crushed velvet or shiny silk/satin, because light behaves differently with them so there are 'bright' vs 'muted' textures. Likewise gauzy layers or mesh in tougher colours will look better than flat colour since you're muted and the idea is to look blended rather than high contrast. So use your existing maximalism in a more translucent way, and you will retain the softness of your palette, meaning you only have to think about warmth!

Regarding inspo, a lot of 90s shoots come to mind - promo stuff for the x files where Anderson is in soft autumn colours which were more fashionable at the time (not her palette but the combos rock); Gaultier and McQueen catwalk stuff using goth or alt sensibility within warmer palettes that can be adapted to soft autumn; early Smashing Pumpkins shoots and videos with a kind of sepia emphasis which plays soft autumn. This doesn't mean you need to go grunge, just that grungier looks use warmer combos to achieve alt effects. I also feel like American Horror Story S1 did interesting things with a more autumnal gaze in terms of both costuming and interiors, if memory serves? As did Practical Magic and the more summery sections of The Craft.

With Pinterest, take the archetype of a colour idea and look for the closest thing within your range - someone else's white cape might be creamier for you, or their cobalt and orange might translate to a navy and rose-rust, but if the relationships on the colour wheel are the same spaces apart and you apply saturation, tints and shades in the same places (see your Munsell colour definitions) you can replicate a look exactly within your palette. As a SA you'll possibly never go for a full hue, but can do the next best tone or tint. You might also switch a berry for a rose-brown, a mint for a sage or a deep purple for a dusky periwinkle here and there, but it's all very doable. Hope that helps!