Hairstyles by Face Shape

Four of the five measurements sit near the middle of the table, so this is the shape with nothing to correct — what is left is where the cut puts its strong horizontal, and protecting the face length from both directions at once.

With the length ratio at the bottom of the table and the softest jaw corner of the seven, the lever is direction rather than shape — every cut buys length the outline does not have or sends the eye across the face, and none of them adds at the cheeks.

The tightest jaw corner of the seven under a jaw that runs close to the cheekbone width, so cuts are sorted by their relation to that corner — curved against it, placed clear of it above or below, or repeated, which is the one relation that fails.

The longest row in the table with the three widths running close to parallel, so width has to go somewhere the face has none — across the forehead, at the sides, or at the ends — and the sides are the position most often skipped.

The only row where the forehead outruns the cheekbones while the jaw and chin sit narrowest, so everything here is placement — volume at or below the jaw line, and a silhouette left flat above it.

Cheekbones stand alone as the widest point with both ends sitting inside them, so the two ends get filled at once, hairline and jaw, while the middle is left strictly alone — adding there widens the point that is already widest.

The only row where the jaw measures wider than the cheekbones, under the narrowest forehead of the seven, so the top has to be built and the lower half left quiet — the heart gradient run in reverse, and the two pages cannot be swapped.