Look Sharp in Casual Clothes for Your Corporate Headshot

Start with a Solid Foundation: The Right Fit

Your shirt is the canvas. If it’s baggy, you look like you borrowed your dad’s clothes. If it’s tight, every button strains. I once shot a brilliant engineer whose new polo shirt was a size too small; the fabric pulled across his shoulders in every shot, creating distracting lines that screamed “uncomfortable” instead of “confident.” The right fit is not about fashion. It’s about geometry. A shirt should skim your body, not cling to it. Shoulder seams must hit right at the bone—not droop down your arm. Sleeves should end at the mid-bicep, not below the elbow. For a casual look, a well-fitting polo or a simple, soft-collared henley often works better than a stiff dress shirt. Think of it as architecture for your torso.

What’s the biggest fit mistake I see? It’s untucked shirts that are too long. That shirttail hanging down adds visual weight to your hips and shortens your torso. If you want to go untucked, choose a shirt specifically designed for it—one that hits just below your belt line. Try this: raise your arms straight up. If the shirt hem goes more than two inches below your waistband, it’s too long for an untucked headshot. That extra fabric will bunch and look sloppy the moment you sit or move.

Choose Camera-Friendly Fabrics and Colors

Your camera sees differently than your eye. It amplifies texture and reads color as emotion. A thick, cable-knit sweater can look cozy in person but adds ten pounds on camera. Shiny fabrics, like cheap polyester, create hot spots of light that steal attention from your face. Go for matte. A fine-gauge cotton jersey, a soft linen blend, or a lightweight merino wool lays flat and photographs cleanly. These fabrics move with you instead of fighting you.

Color is your secret weapon. Want to look trustworthy and approachable? Go for mid-tones. A navy, a charcoal heather grey, a forest green, or a deep burgundy. These colors create separation from most studio backdrops without being harsh. Avoid pure white and jet black. White can blow out the exposure, making your face look darker by comparison. Black can absorb all light, losing detail and making your shoulders disappear. And that bright orange tee? It will cast a warm glow on your neck and jawline, and the viewer’s eye will go straight to the shirt, not your smile.

Layer Strategically to Add Structure

One layer is a statement. Two layers are a strategy. A single t-shirt can look flat. Adding a simple, open-collar shirt or a lightweight jacket over it instantly creates lines that guide the eye toward your face and add dimension to your shoulders. The V-shape formed by an open collar is a classic framing device. It works like an arrow pointing up. I keep a soft, navy blazer in my studio for exactly this reason. On a client wearing a simple grey tee, throwing that blazer on for a few shots added a level of polish that changed his whole posture—he sat up straighter, his shoulders went back.

Keep layers thin. A thick sweater under a jacket adds bulk. Instead, think of a fine cotton shirt over a tee, or a lightweight cardigan. The goal is to create shape, not volume. Can you wear a hoodie? Only if it’s exceptionally well-fitted and you’re in a creative field. A baggy hoodie swallows the neck and creates a slumped silhouette. A structured, zip-up jacket in a solid color is almost always a safer, sharper bet.

The One Thing That Always Looks Unprofessional

Wrinkles. Not the kind on your face—the kind on your clothes. A wrinkled collar is the fastest way to undermine a great outfit. It tells the viewer you didn’t care enough to prepare. I’ve seen a perfect navy shirt ruined by a collar that curled and creased from being packed in a suitcase; it looked like a sad, wilted flower in every single frame, and we had to digitally smooth each one. The camera picks up every fold, especially around the neck and shoulders where the light hits.

Your outfit should come on a hanger, straight from the iron or steamer. Do not fold it into a bag on the way to the session. Hang it in your car. If you’re traveling, use a garment bag or steam it in the hotel bathroom. That crispness around the neckline is non-negotiable. It’s the frame for your face. A wrinkled frame ruins the whole portrait.

How to Test Your Outfit Before You Shoot

Don’t guess. See it. Set your phone on a shelf, turn on the self-timer, and take three photos of yourself in your chosen outfit. One facing straight on, one at a slight angle, and one sitting down. Look at these photos with a brutal eye. Is the collar lying flat? Do the sleeves bunch awkwardly? Does the color make your skin look sallow? Check for transparency—a white tee in front of a bright window might show more than you intend.

Move around in it. Sit as you would in a chair. Cross your arms. Does the fabric pull? Does it ride up? This five-minute test has saved hundreds of my clients from regret. Finally, look at the photo in black and white. This removes the color distraction and shows you the true contrast and texture. If the outfit looks good in monochrome, it will photograph well in color.

The goal isn’t to look like you’re trying. It’s to look like the best, most confident version of yourself walked in off the street. When your clothes fit right, lie flat, and frame your face without shouting, the focus stays exactly where it belongs: on you, ready to connect.

Related, and worth reading next: Get Friendly in a Suit: Headshot Tips for Corporate Success.