People decide how they feel about a face in about a tenth of a second. That’s not a marketing line — it comes from a Princeton study by Willis and Todorov published in Psychological Science, which found that impressions of trustworthiness and competence form after roughly 100 milliseconds of exposure.
Which tells you what your outfit is actually for.
It isn’t there to be noticed. It’s there to stay out of the way so your face gets that tenth of a second uninterrupted.
Almost every wardrobe question I get has the same answer underneath it: does this pull attention toward your face, or away from it?
What should you wear for a professional headshot?
Solid colors. Mid-tones. Clean lines. Nothing that reflects light or creates a pattern the camera has to fight.
That’s the whole framework. Everything below is just detail.
I’d also say this, because most people arrive worried about it: you don’t need new clothes. The best headshot outfits are usually things people already own and already feel like themselves in. Comfort reads on camera. Stiffness reads on camera too.
What colors photograph best?
Mid-tone colors do the most work. They separate you from the background without stealing the frame.
| Works well | Use carefully | Usually avoid |
|---|---|---|
| Navy, charcoal, slate | Black — can flatten on dark backgrounds | Pure white — blows out, pulls the eye |
| Olive, forest, deep teal | Bright red — strong, but dominant | Neon and highlighter tones |
| Burgundy, rust, deep plum | Light gray — fine, but low contrast | Shiny fabrics: satin, sequins |
| Warm neutrals — camel, oatmeal | Cream — better than true white | Large logos and slogans |
Two practical notes from the studio.
Black on a dark background can merge your shoulders into the backdrop and leave a floating head. If you love black, tell me before we shoot and I’ll light a background that gives you separation.
And pure white is the most common thing I have to work around. It’s the brightest thing in the frame, so the eye goes there first — which is exactly backwards.
What should men wear for headshots?
A well-fitting jacket over a solid shirt is still the most versatile option, because you can shoot with it on and off and end up with two different looks in one session.
- A jacket in navy, charcoal, or a subtle textured weave
- A solid shirt underneath — light blue, or a soft mid-tone. Cream and ecru beat true white
- Ties are optional now in most industries. If you’re in law, finance, or executive search, bring one and we’ll shoot both
- Watch the collar. A soft collar that has lost its shape is the single most common thing I fix in retouching
Fit matters more than price. A $60 jacket that fits your shoulders photographs better than an expensive one that doesn’t.
What should women wear for headshots?
The same principles, with a few more variables.
- Solid colors in a fabric with some structure — knit, ponte, crepe, a light wool
- Necklines that frame the face: a simple crew, a V that isn’t too deep, a collar, or a boat neck
- Sleeves usually work better than sleeveless for a tight headshot crop, but bring both if you’re deciding
- Jewelry: one piece, not three. Small studs and a simple chain read as polished. Large statement pieces compete with your face
- If your hair falls forward, a slightly wider neckline gives it somewhere to go
Layers give us options. A shell plus a blazer is effectively two looks, and it costs you nothing.
What should you avoid wearing?
- Logos and branding. They date the photo, and they’ll date faster than your face does.
- Busy patterns. Thin stripes, small checks, and herringbone can create a moiré pattern on camera
- Shiny fabrics. Satin and sequins bounce light straight back at the lens
- Anything wrinkled. Steam it the night before. I can retouch a lot, but fabric folds are tedious to fix
- Brand new clothes you haven’t worn. You’ll spend the session adjusting them
- Sunglasses on your head, lanyards, badges. They pull the eye every time
What should actors wear for headshots?
Different rules. Actor headshots are casting tools, not credibility tools.
You’re not dressing for “professional.” You’re dressing for the roles you actually get called in for. If you book warm, grounded, best-friend types, that’s a henley or a soft knit. If you read as attorney, detective, or executive, that’s structure — a jacket, a crisp collar.
Bring three to five pieces that map to your specific types, in different tones. We’ll build a range that gives your agent options, which is the point of the whole session.
What should a team wear for company headshots?
If you’re the person coordinating team headshots, send one short email and you’ll save yourself an hour on the day. Something like:
“Solid colors, no logos, no white shirts on their own, no busy patterns. Business casual, or whatever you’d wear to meet a client. Bring a second option if you want one.”
That’s it. Don’t mandate a uniform. Then, it looks like a uniform. A loose range of solid mid-tones across a team produces a set that looks intentional without looking staged.
One more thing that matters more than wardrobe: schedule 5–7 minutes per person, not 3. The rushed ones always look rushed.
How many outfits should you bring?
Bring more than you think you need. It costs you nothing and it costs me nothing.
For a 30-minute Express session, we’ll shoot one look, but bring a backup in case something reads badly on camera. For a 90-minute Signature session, bring three or four. For a two-hour Deluxe, bring five.
Hang them, don’t fold them. There’s a rack at the Logan Square studio and I’d rather you use it than fight a wrinkle for the next hour.
What I actually tell people the night before
Pick two things you already feel good in. Steam them. Put them on hangers by the door.
Then stop thinking about it.
