Which Haircut Designs Taper Flatter Round Faces?

If you're into the whole goth-mommy vibe, a lot of it actually traces back to a handful of influential manga and the broader Gothic Lolita fashion movement. My first pick is 'xxxHolic' — Yuuko Ichihara is the textbook example: long flowing black dresses, theatrical makeup, a mysterious maternal energy and a tendency to dispense cryptic advice. Her look and presence have been cribbed and riffed on across anime character design for older, witchy women. Another major source is 'Black Butler' ('Kuroshitsuji'), which gave us Victorian silhouettes, corsets, high collars and that aristocratic femme fatale energy. Combine that with the doll-like, melancholic vibes from 'Rozen Maiden' and the tragic, vampiric glamour in 'Vampire Knight', and you get the visual language designers pull from to craft a 'goth mommy' — an older female who reads as protective, aloof, and a little dangerous. Beyond those titles, Junji Ito's body-horror aesthetic and titles like 'Franken Fran' contributed darker, uncanny textures, while the 'Gothic & Lolita Bible' fashion culture and visual kei icons (think Mana) provided the real-world clothing cues. Put together, these sources explain why so many older femme characters in anime wear long black gowns, lace, parasols, and carry that pleasantly menacing, nurturing vibe. I still get a soft spot for Yuuko's dramatic entrances.

Customizing book sleeves for 'A Court of Thorns and Roses' is such an exciting journey! I can't help but reflect on my countless hours scrolling through various design platforms and communities. It’s fascinating to see how so many fans express their creativity through these personalized touches. For instance, using fabric paints or printed fabric to create unique motifs that resonate with your favorite characters or scenes can really make your sleeve pop. Whether you're inclined toward bold, vibrant colors reminiscent of the Night Court or prefer soft pastels that echo the Spring Court’s beauty, the options are endless! I recently stumbled upon a DIY tutorial that used stencils inspired by the Valerios and Nocere motifs. Another idea I love is incorporating quotes from the series—there’s just something magical about seeing a beloved line artfully displayed alongside beautiful illustrations. Not only does this change the look of your books, but it also adds a personal touch that truly reflects your fandom. Plus, embracing your inner artist through these designs can be a therapeutic outlet after a long day. That’s the magic of book sleeves—you can craft a piece of art that’s as unique as your personal experience with the story!

Ever since I first opened a collected volume of 'Dragon Ball' and then watched 'Dragon Ball Z', I kept getting pulled into how simple and iconic the character designs are. Akira Toriyama sketched most of the core cast himself—he had this economy of line where a few confident strokes told you everything about a personality: Goku's spiky hair and round face, Vegeta's widow's peak and scowl, Bulma's changing haircuts. Those sketches went to his editor, who often nudged ideas toward clearer silhouettes or marketable costumes, and the manga assistants cleaned and tightened panels for publication. When the series moved from manga to anime, Toei Animation took Toriyama's roughs and made production-ready model sheets, color keys, and turnaround drawings. Those sheets standardized proportions, clothing details, and color palettes so dozens of animators and overseas studios could animate consistently. The transition also pushed some designs to be bolder—muscles got blockier, expressions were exaggerated for TV, and visual shorthand for power (hair standing on end, glowing auras) became codified. I love imagining those first moments when Toriyama and the studio decided Super Saiyan hair should be not just spiky but visually arresting in gold—it's a perfect example of manga idea + animation color boosting an icon. It still gives me chills seeing those silhouettes on-screen.

On slow mornings when my hair decides to puff up like it has plans of its own, I really lean into lightweight, texture-first products. For a low taper fade with fluffy hair you want stuff that gives separation and hold without flattening the volume — think sea salt spray as a pre-styler, a light matte clay or cream for shaping, and a fine texturizing powder at the roots when you need an extra lift. I usually spritz a salt spray into towel-damp hair, scrunch with my fingers, then blow-dry on low with a round brush or my hand to encourage the fluff rather than smoothing it down. If I'm going out and want that lived-in look, I follow with a pea-sized amount of water-based matte clay worked between my palms, then rake through the top and crown. For stubborn spots I'll use a little fiber or paste for extra grip, but sparingly — too much product kills the airiness. A light flexible hairspray keeps everything in place without turning the style into armor. Maintenance-wise, a sulfate-free shampoo every other day and a dry shampoo on day two keeps the shape without weighing the hair down, and a leave-in conditioner used only on the ends prevents frizz. This combo keeps the fade crisp and the fluffy top lively, which I love because it looks styled but still effortless, like I actually slept well even if I didn't.

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.

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.

My go-to plane cake for kids is the cheerful 3D cartoon biplane—it's simple to recognize, bright, and kids immediately point at the propeller. I usually build a rectangular sheet cake as the runway base and sculpt the plane body from a smaller rounded loaf or from rice cereal treats for a lighter, more carveable core. Then I cover the sculpted body with a thin layer of ganache or buttercream to seal crumbs before smoothing fondant over it. Bright primary colors pop the best: red or blue fuselage, yellow wings, and a contrasting propeller. I like adding playful details: piped clouds on the runway cake, edible-ink 'ticket' toppers with the birthday kid's name, and a few mini cupcakes decorated as fuel drums or little clouds. For kids who love character tie-ins, an edible image of a character from 'Planes' works great; place it on a fondant plaque to keep the look cohesive. Safety note: if you use small toy planes, secure them with a dab of melted chocolate or place them on a little fondant disc so they don't become choking hazards. Overall, this style is photogenic, easy to transport, and always a crowd-pleaser—I still grin seeing littles chase imaginary contrails.