Most importantly: don't stress about it
I’ve photographed enough people now to know that almost everyone worries about this far more than they need to. Most people overthink what to wear before their headshot photo shoot, and in my experience, it tends to have a fairly small impact on whether they end up loving the final photographs.
The internet will tell you to wear block colours, avoid stripes, steer clear of logos and choose timeless pieces. None of that is bad advice. But equally, none of it is likely to make or break your photographs.
The thing that does make a difference is whether you look comfortable. People often arrive wearing what they think they ought to wear, rather than what they’d naturally choose. An actor arrives dressed as the person they hope to be cast as, rather than the person they actually are. A business owner who hasn’t worn a suit in five years suddenly feels they need one because it’s “for LinkedIn”.
In my opinion, the best headshots don’t look too styled or polished, but do feel believable. If someone meets you a couple of weeks after seeing your headshot, they shouldn’t be surprised by how you look. The photograph should simply feel like a version of the person standing in front of them (albeit on a good day when they were looking and feeling their best).
That’s why I’d always encourage people to bring a few options rather than trying to identify the single perfect outfit beforehand. Clothes can behave differently under studio and flash lighting, colours change, necklines frame the face in unexpected ways, and occasionally the jumper you nearly left at home ends up being the one that quietly steals the show. It’s much easier to make those decisions together in the studio than it is standing in front of your wardrobe at 11pm the night before. And if you opt for either the “standard” or ‘premium” package, there will definitely be time for us to try multiple options in front of the camera too.
If there’s one practical piece of advice I stand behind though, it’s this: don’t let your clothes become the most interesting thing in the photo. A loud graphic print, an enormous logo or a jacket that constantly demands attention has a habit of pulling the eye away from the one thing people actually came to look at.
Beyond that, I’d worry much less than you think you need to. I have included some more tangible suggestions below, but mainly, just wear something that fits well. Wear something you feel good in. And wear something that already feels like yours.
But i want specifics!?
Treat the following as gentle guidelines, not hard rules.
In general, solid colours tend to work better than very busy patterns in headshots and portrait photography because they keep the attention where it ought to be: on your face. Tiny checks, fine stripes and tightly woven patterns can sometimes create strange visual effects on camera, while large logos and bold graphics carry the risk of becoming more memorable than the person wearing them. Neither is the end of the world (and obviously we’ll always have the option to photoshop out any logos if you’re really keen to wear something), but if you’re choosing between two otherwise similar outfits, I’d usually opt for the simpler one.
Colour is a little more subjective. Rich, muted tones – like navy, olive, charcoal, burgundy, forest green, cream and earthy neutrals – often photograph beautifully because they add depth without overwhelming the image.
Bright neon colours, on the other hand, can reflect onto the skin under studio lighting, while very bright whites sometimes become the first thing your eye is drawn to. Equally, wearing head-to-toe black against a dark background can lose definition, particularly if you’re hoping for a moodier portrait. None of this means those colours are “wrong”; it simply means we’ll need to think a little more carefully about the backdrop and lighting we use.
(Side bar: I have a range of backdrops for you to pick between: white, black, yellow, blue, the exposed brickwork of my studio and, weather permitting, there may be the option to try some photos outside.)
One more clothing consideration is texture. Knitwear, denim, linen, suede and heavier cottons all photograph with a richness that plain synthetic fabrics often don’t. It’s subtle, but texture gives studio portraits a sense of depth that flat, shiny materials can struggle to achieve.
People don’t need to recognise your outfit. They need to recognise you.
