London, Christmas 1843: Henry Cole suggested that John Callcott Horsley design a greeting card now recognized as the first Christmas card. The card was published in London and pictured three generations of the Cole family raising a toast, with small scenes of giving around them. I like the scale of that idea. It was a family picture with a job to do, carried out into the world as a greeting.

 

That is a better brief for Christmas picture outfit ideas than asking everyone to appear in the same sweater. I would give the group one color story and let the silhouettes differ: a knit dress for the person who likes a single decision, a sweater for the one who prefers layers, and a small detail at the hair or shoe if the clothes need a lift. Photographer David Pascolla's practical test is to lay every outfit together and look for any one piece that overwhelms the others.

 

Start with the red-and-green dresses here. CeCe's Mock Neck Lace Hem Midi Sweater Dress in Crisp Merlot has short sleeves and a below-the-knee line, while Bardot's Amera is a burgundy, long-sleeved knit with a high neck. Malina's Amalia keeps deep red at the top before relaxing at the hip; Avec Les Filles adds a polo collar, belted drop waist, and pleated mini. Whistles' red ribbed midi returns to long sleeves, and Maje's bottle-green layered mini brings in the other half of the palette. I would set one beside a cream or dark neutral, then take a quick picture of the laid-out clothes before the real camera comes out.

Photographer David Pascolla recommends a palette of three or four complementary colors, then laying the outfits together to spot any piece that calls too loudly. For a holiday portrait, I would build around cream and let a deeper red, green, or tartan carry the accent rather than putting everyone in the same ivory.

 

The ivory cable-knit crewneck has a crisp texture and ribbed edges; the covered-button cashmere cardigan gives the same light color a softer outline, with raglan sleeves and a cropped hem. Sézane's James Jumper is ecru wool with balloon sleeves and a flared collar, while the Mina Jumper is a finer cream turtleneck with a straight shape. Free People's Solstice Cashmere Pullover is cropped, and Carve Designs' Neve Cable Turtleneck uses textured recycled yarn. Those small differences let a family share a palette without looking like a set of copies.

 

For a group portrait, I would put the most sculptural neckline on the person closest to the camera, then keep the nearby outfits simpler. Lay the pieces beside one another and check if the ivory still has definition against the room, especially beside a pale wall or a light background. What I would skip: repeating the same cable texture on every person. A mix of smooth knit, ribbing, and one open cardigan gives the eye a quieter place to rest.

Scotland's National Records name 1538 as the earliest mention of Highland tartan, in an account for King James V's clothes. A later record catches its more charged history: in 1747, a letter described three imprisoned shearers and their supposed offenses as poverty and tartan. When George IV visited Scotland in 1822, he wore Highland dress to formal events, and the National Records note that everyone else needed to wear tartan too. I would use the pattern with a little history in mind, not as a matching uniform.

 

The pieces here offer several ways into a check. Theory's Plaid Knit A-Line Miniskirt in almond multi makes a compact silhouette; its charcoal plaid wide-leg trousers stretch the same idea into a longer line. Rag & Bone's Wren is a white-plaid voile maxi, while the Henrietta Pleated Plaid Skirt sets mauve and brown against crisp pleats. Akris punto's espresso-and-cashew midi uses tiers, Guest in Residence wraps blue-and-black tartan with fringe and buttons, and the Olivette Plaid Maxi breaks up its ivory check with asymmetrical panels.

 

I would let one patterned piece set the palette, then repeat just one of its colors in a plain knit or ribbon. Look at the pattern from portrait distance before choosing: if the intersecting lines are all you notice, move to a larger or quieter check. What I would skip: putting every person in the same tartan. One skirt or trouser can carry the reference without turning the family into a uniform.

The V&A dates the Victorian heyday of Christmas cards to 1860 through 1890, when makers combined color printing, metallic inks, fabric appliqué, and die-cut shapes. That history makes me think about surface, not just color. For an indoor portrait, velvet can give one outfit texture while the rest of the family stays in simpler knits or smooth fabric.

 

AQUA's black Velvet Mini Dress has a square neckline and shoulder bows; the misty-blue Tilda Velvet Slip Maxi Skirt falls on the bias, while the stone-blue Velvet Midi Skirt has gathered detailing and a side slit. Maeve's Keiko Velvet Mini Dress brings rust and black florals, and Yumi's green embroidered midi keeps its tiny flowers across a V-neck and floaty sleeves. Eliza J's chocolate mini has tonal embroidery and a shirred neckline; Reiss's burgundy Dalia drapes from one shoulder. I would choose one of these richer surfaces as the visual anchor, then let the others sit nearby in plain color.

 

Before settling on the set, check how the velvet and the neighboring pieces look together in the room where the portrait will happen. A solid sweater or a quiet skirt can give a patterned dress space. What I would skip: putting velvet beside another high-contrast print of the same scale. The clothes can share the frame without arguing for attention.

A shoe or hair bow can quietly repeat a color from the clothes, so I would use the final details to connect the palette rather than add a second statement. The taupe Mavis Bow Pointed Toe Pump gives the outfit a neutral finish, while the Brigitte Bow-Tie Mary Jane Flats bring a navy star print and slim ties. Maeve's black Bow Mary Jane Brogue Heels are more graphic, with a square toe and buckle.

 

For hair, the dark-brown Velvet Bow Hair Clip and white Satin Bow Hair Clip offer two different levels of contrast. The blue So This Is Love Bow has embroidered tails; the ivory Pearl Embellished Hair Bow Barrette uses pearls and a French barrette closure. The chocolate Pirouette Bow Scrunchie has a dramatic attached bow, though its reflective logo is a detail I would keep turned away from the camera. A bow near the face can echo a color in the family palette without asking every person to wear another pattern.

 

I would check the full outfit in a seated pose as well as standing, then see whether the shoe still works with the hem and the bow remains near the face. For a photo at home, polished flats or a low block heel may suit the setting better than a shoe that feels too formal. Keep one accent close to the face, and let the rest be quiet.

I would choose one outfit that already feels like its wearer, pull two or three colors from it, and build the rest of the family looks around those shades. Then I would lay everything together, remove the one piece that shouts, and finish with shoes or a bow that repeats a color already in the clothes.

 

The first Christmas card did not need identical outfits to make its point. It held three generations around one table, and the best picture here will leave room for each person to look like herself.

 

For more to read next: The Christmas Outfits Edit, Trend, Christmas vacation outfits and Work christmas party outfits.