What haircut suits my face?A method, not a chart.
Every chart gives you a shape and a list. Almost none of them tell you how to find your own shape, and none of them mention the two things that change the answer more than your outline does. Here is the whole method, in the order a stylist would use it.
You need one photograph: face to the camera, hair pulled back, daylight from a window, no smile. Take it now. Everything below is read from that one picture.
Step one: your outline
Look at your photograph and answer three questions, in this order. Write the answers down, because the third one is the one people get wrong from memory.
First, where is your face at its widest — cheekbones, jaw, or the temples? Second, is your jawline a curve, a corner, or a point? Third, is your face longer than it is wide, and by how much? Hold two fingers under your chin and compare that distance to the width across your cheekbones.
Those three answers place you in one of the six outlines below. If two of them fit, you are between the two, and both lists apply.
Step two: what your outline gains
Widest at the cheekbones, a soft jaw, a little longer than wide. Almost any length works, so choose by hair weight instead. A long bob at the jaw and a collarbone cut with a centre part both sit beautifully here.
As wide as it is long, with a curved jaw. Length past the collarbone and a deep side part both draw a longer line down the face. Layers that start below the chin keep width away from the cheek.
A corner at the jaw, and often the widest point there. Soft, broken ends near the jaw sit better than a blunt line landing on it. A cut just below the collarbone, or a chin-length bob with movement, lets the jaw read as structure.
Wide at the temples, narrowing to a point at the chin. Weight low — a blunt collarbone cut, or a bob that ends fullest at the jaw — balances the width above. A curtain fringe softens the hairline without covering the eyes.
Noticeably longer than wide, jaw and forehead close in width. Width is what you want: a blunt cut at the collarbone, waves, or a fringe that shortens the forehead. Very long straight length pulls the line longer still.
Widest at the cheekbones, narrow at both the forehead and the chin. Fullness at the jaw and at the crown, and a side part, both answer the cheekbone. A chin-length bob is the classic here for good reason.
Step three: what your hair weighs
The same cut behaves differently on two heads, and this is where most charts stop being useful.
Fine hair keeps a blunt line and loses layers, so density has to come from one clean edge. Thick hair swallows a blunt line and needs weight removed underneath, or the shape widens as it grows out. Curls and waves shorten by two to four inches when dry, so the length you ask for is not the length you get.
Say your hair type out loud at the salon before you say a length. A collarbone cut on fine straight hair and a collarbone cut on thick waves are two different haircuts.
The thing the charts leave out: your contrast
Hold your photograph at arm’s length and half close your eyes. Do your hair, your skin and your eyes read as three clearly separate tones, or as one soft blur?
High contrast carries a strong, defined edge: a blunt line, a deep part, a real fringe. Low contrast is flattered by soft edges, because a hard line becomes the loudest thing in the photograph. It is the same reason two women with identical outlines suit opposite cuts.
This is also why the answer moves as grey comes in. Grey lowers the distance between your hair and your skin, so a cut that read as sharp at thirty-five can read as heavy at forty-eight — with the same face and the same outline. When your colour changes, re-read the cut.
What a page cannot do, and a stylist can
An honest limit: a stylist in the room sees your hairline, your cowlick, how your hair falls when you stop touching it, and how much time you will really spend on it. A consultation is worth the $85 or so it costs, and this page is not a substitute for one.
What a page can do is send you in with three sentences instead of a photograph of someone else: my outline is this, my hair weighs this, my contrast is this. That is the conversation that gets you the cut you wanted.
Where MyLook comes in
We read those three things — outline, weight, contrast — from your own photographs, and name the appearance Type they add up to. Each Type carries a hair rule written in one line, beside the colours, necklines, cuts and lengths that belong with it. You can read all twelve on the Types page before you give us anything.
Then the part no chart does: we show you wearing it. The Look is a generated visualisation built on your own photograph — your hair at the prescribed length and shape, the clothes, the makeup — so you can see the cut on your own face before a pair of scissors is involved.
MyLook is built and run end to end by AI agents on NanoCorp, which is why a guide like this gets rewritten the week the answer changes rather than the year after.
See the cut on your own face first.
A Reading takes about a minute. It names your Type from your own face and frame, writes your hair length and shape in one line, and then shows you wearing the whole look it calls for.
Your first three Looks are free. No card, and no account before you have seen them.
Next question, usually: am I warm or cool toned, and do the home tests work. Or read the twelve Types, each with its own hair rule.