Who Is The Author Of Karen'S Haircut?

Man, Yuta's haircut from 'Jujutsu Kaisen' is such a vibe—messy yet intentional, with that slightly uneven fringe and layered texture. It reminds me of classic shonen protagonists but with a modern twist. Characters like Eren Yeager from 'Attack on Titan' in later seasons have a similar rugged look, though Eren’s is more chaotic. Then there’s Kaneki Ken from 'Tokyo Ghoul' during his black-haired phase; the asymmetry matches Yuta’s style. Even Izuku Midoriya’s curls in 'My Hero Academia' share that 'just rolled out of bed' energy, though his are softer. What’s cool is how Yuta’s cut reflects his personality—reserved but capable of wild moments. It’s not as polished as, say, Gojo’s, but that’s the point. If you dig deeper, you’ll spot parallels in older series too, like Yusuke Urameshi from 'Yu Yu Hakusho' with his spiky crown. It’s a haircut that screams 'underdog with hidden power,' and I’m here for it.

Ever since I saw Yuta's iconic look in 'Jujutsu Kaisen 0', I've been obsessed with that effortlessly cool haircut. After experimenting with it myself and watching others try it, I think oval faces pull it off best. The layered, slightly messy style balances out the proportions of an oval face, especially with those longer sideburns framing the jawline. Square faces can rock it too if the top is kept voluminous to soften sharp angles. Round faces might struggle unless the hair has enough height on top to elongate the silhouette. Heart-shaped faces? Absolutely! The wispy bangs complement wider foreheads beautifully. Honestly, seeing cosplayers with different face shapes adapt the cut (some adding slight asymmetrical fringes or adjusting the back length) proved how versatile it can be when tailored right. That's the magic of Yuta's style—it's a mood as much as a haircut.

I get a little excited talking about this one because Lando’s hair has such a recognizable vibe — it’s the kind of cut that looks effortless but actually needs some thought behind it. From what I’ve picked up watching his Instagram stories and paddock photos, he usually gets the cut done at a proper barber or salon when he’s home (often between Bristol, where he’s from, and London or Monaco depending on the season). When he’s at races the finishing touches are often done by whoever’s on hand in the hospitality area or a team stylist; that’s why sometimes it looks slightly more polished at circuits compared to his casual at-home snaps. The style itself is a textured crop with a neat taper on the sides and a bit more length left on top to push forward or to the side. Barbers achieve that look with scissor texturizing on the crown and a soft clipper fade on the sides, finished with point-cutting to create movement. For styling he seems to favor a matte product — think light paste or a clay — applied to slightly damp hair, then finger-combed or blow-dried for natural separation rather than a slick look. If you’re trying to replicate it, ask for a medium-length textured top, soft taper, and a barber comfortable with blending scissor work into clippers. Keep it trimmed every three to five weeks to maintain the shape. Honestly, it’s one of those sporty-but-clean looks that suits him perfectly and is surprisingly easy to live with between cuts.

If you want a taper Edgar that reads sharp but still has texture, I usually reach for a few core products and a little technique. I like to start with a light pre-styler — a sea salt spray or a lightweight mousse — sprayed into damp hair so the top keeps some grit and hold without getting crunchy. Blow-drying on low while using my fingers to push the fringe forward gives that blunt, chiseled line Edgar cuts are known for. After that I work in a matte clay or fiber paste for texture and structure. I use a pea- to nickel-sized amount rubbed between my palms, then scrunched through the top and finished by shaping the fringe with the pads of my fingers. For thinner hair, a volumizing powder at the roots helps the taper look balanced; for thicker hair a stronger clay (think Hanz de Fuko Claymation or a heavy American Crew fiber) tames bulk. A light mist of flexible hairspray seals everything without the helmet feel. I always carry a small travel pomade for touch-ups — it helps smooth the sides and keep the taper crisp throughout the day. In short, texture first, matte hold second, and small touch-ups for the fringe; that combo keeps my taper Edgar looking intentional and lived-in.

I can't help but geek out over the hockey flow — it's one of those styles that looks effortless but actually wants a little intention. For a classic, wearable flow I aim for about 6–10 inches (15–25 cm) at the longest points: that’s usually the crown and the back. The idea is for the hair to sit past the ears and either kiss the collar or fall to the top of the shoulders when it’s straight. Shorter than about 6 inches usually won’t give you that sweeping, helmet-buffed look; much longer than 10–12 inches starts to feel more like a mane than a flow, unless you want a dramatic version. Sides and layers are where the cut makes or breaks. I like the sides to be blended but not buzzed — somewhere around 3–5 inches (7–13 cm) so the hair can tuck behind the ears or sweep back without looking boxy. Ask for long, textured layers through the back to remove bulk and create movement; point-cutting or razor texturizing helps thin thick hair so it won’t balloon out. The neckline should be natural and slightly shaggy rather than cleanly tapered — that soft, lived-in edge is part of the charm. Styling-wise, I keep it low-effort: towel dry, apply a light sea-salt spray or creamy texturizer, then either let it air dry or rough-blow and brush back with fingers. If you wear helmets, add an extra half-inch to the crown so the flow re-forms after sessions. Trim every 6–10 weeks to maintain shape, and be open with your barber about how much helmet time you get — that little detail changes the exact length I request. I love how the right length turns a messy mop into something that actually feels stylish and sporty.

Growing up around mixtapes, thrift-store flannels, and a steady diet of loud, fuzzy guitars, Kurt Cobain's hair always felt like part of the music to me. The style he rocked in the early 1990s was less a formal cut and more an attitude: medium-length, layered, slightly shaggy hair that fell in an almost accidental middle or side part. People often call it a 'shag' or a 'bedhead' look, and you can also see echoes of the 1970s curtain-style — that undone, lived-in vibe that rock icons from a few decades before had popularized. On the 'Nevermind' era press photos he sometimes had a softer middle part, while onstage or in candid shots it was messier and bleached-out at the tips, which made it iconic. What I love about this is that it wasn’t a single barber’s formula so much as a cultural remix: punk’s DIY rage, ’70s rock’s layered looseness, and Cobain’s plain refusal to fuss. He often let his natural waves and the bleach do the work, so the haircut was really about length and layers — long enough to flop over the forehead, shorter layers around the crown to create movement, and ragged ends for texture. If you look at photos and interviews from that era, the common thread is minimal styling, a middle-ish part, and a slightly shaggy, grown-out shape that felt casual and rebellious. For me, it still screams authenticity every time I see someone pull it off right.

If you're aiming for a celebrity-level fluffy Edgar, I’d go straight to the cut and the texture — those two things make it look polished rather than homemade. I usually tell stylists to leave about 2–3 inches on top, heavily texturize with point cutting or a razor, and keep the sides tapered but not shaved into a skin fade. Ask for a disconnected feel: soft but noticeable separation between top and sides. The fringe should be choppy and slightly rounded so it sits forward without looking uniform. For styling, I use a small dollop of matte paste worked through damp hair, then blow-dry with my fingers while lifting at the roots. Finish with a mist of sea-salt spray for that fluffy, lived-in texture that reads like a red-carpet look. If you want a glossier celebrity vibe, swap the paste for a light cream and run it through the ends. Maintenance-wise, trims every 4–6 weeks keep the shape; a texturizing refresh every other visit keeps the fringe from getting heavy. I love how it looks both messy and intentionally styled — feels like crafted chaos on purpose.

Waking up and wanting that Sung Jin-Woo vibe is a mood I get a lot, so here’s how I do it at home without a salon. First, the haircut itself: the look is about contrast — shorter, tapered sides and a longer, textured top. If you’re comfortable with clippers, use a #2 or #3 guard for the sides and keep them blended into the top. For the crown and fringe leave around 3–4 inches so you can mess it up into that jagged, lived-in shape. If you’re nervous with scissors, a friend or family member can help; otherwise, go slow and take off a little at a time. For styling, wash and towel-dry until slightly damp. I work a dime-sized amount of sea salt spray or texturizing spray into the roots and then blow-dry while pushing the hair forward and up with my fingers to build volume. Once dry, I warm a small amount of matte clay between my palms and pinch-twist sections of the top to create separated pieces — the goal is messy, not slick. Use your fingers rather than a comb to keep the natural, slightly spiky texture. If you want a sharper fringe, add a tiny bit of pomade to define the tips. Maintenance is straightforward: a trim every 4–6 weeks to keep the sides neat and a light scissor-over-comb trim on top when it starts to lose shape. If you’ve got a stubborn cowlick, work with it — angle the fringe so it hides the lift. I love how this style can go from clean to battle-ready with just a few twists of product; it always makes me feel ready to take on the day.