[Theresa Cosplay] Honkai Impact 3rd, The Red and White Waiting Under the Moon

This set of red and white color scheme photos had been conceptualized in my mind for quite a long time. From selecting the fabric to make the skirt hem to picking the props, every step was done in hopes of recreating that atmosphere that is both holy and carries a bit of dark Gothic style. White lace and tulle stacked up a voluminous skirt hem, yet intentionally used bright red roses for a color clash, because I always feel this contrast holds sufficient tension. The white vintage carved piano and staircase scene used on the day of the shoot was highly photogenic; sunlight poured in from the side window, casting beautiful shadows through the skirt's lace, giving the entire space a natural, serene sense of narrative.

The makeup specially emphasized the red eyeshadow and lip color, cooperating with the white wig to make the colors between the brows and eyes stand out more. The wig edges were handled relatively lightly to create a texture that is both draped and agile, and I repeatedly adjusted the position of the bangs when wearing it to avoid looking heavy. The lace gloves on the arms and the choker on the neck were all manually adjusted; to make the transition between the floral arm ring and the gloves more natural, I tried the angle of the straps three or four times. The high heels were also customized with a white base and red rose decorations; I had to be exceptionally careful when walking on the stairs, but the effect after shooting was truly worth it.

The long sword prop held a substantial weight when I got it. The sword body featured an aged texture, and the hilt was wrapped with white satin ribbons and roses, echoing the dress. During the shoot, I discussed several movements with the photographer, aiming to both maintain the coolness of the weapon and avoid destroying the softness of the dress itself. The pose in the photo where I sit on the stairs with the sword resting on my shoulder was actually tried many times, because the sword body is relatively long and requires finding the right center of gravity to make the posture look unhurried. As for the few shots of lying on the piano stool, a very thin blanket was actually padded behind me during shooting, yet the clothes couldn't be wrinkled, so the body lines were adjusted repeatedly multiple times to let the skirt hem spread out naturally while revealing the leg lines and shoe details.

Regarding the character's own personality traits, that line "the long wait" has always deeply moved me. Therefore, I intentionally held back my expressions before the lens, not smiling too much, but letting my gaze project a sense of certainty and calmness—not indifference, but knowing exactly what I am waiting for, so I am neither anxious nor impatient. The position of the flower crown was also specially lowered slightly, letting the line of sight look out from the gaps, which better brings out that quiet yet sharp temperament. The shooting intervals were actually very tiring because the skirt lining had several layers, and combined with the headpiece and props, moving around was not easy, but every time I saw the light, shadow, and colors in the playback, I felt all this hard work was completely worth it.

The focus of post-processing was on skin tone uniformity and the purity of the red and white colors, without excessive skin smoothing to preserve some natural skin texture, making the overall texture more authentic. Background elements like the piano and stairs were slightly darkened to let the character's white dress pop out more. This set of photos took about three weeks from planning to final output; during this period, I personally sewed several places of lace trim and rearranged the position of that rose headband. We discussed some cinematic compositions with the photographer, and the final four photos selected were the ones from each angle that best transmitted that "月下花嫁" atmosphere with a white veil and red roses.

In fact, having done cosplay for so long, every time I put out this kind of large-volume attire, I do a lot of homework in advance, both to let the clothes look full before the lens and to guarantee that movements aren't restricted. Although this red and white combination carries strong visual impact, the actual shooting was also a big test of positioning, because the red roses were easily obscured by hair, and the angles of the flower crown and arm ring had to be constantly adjusted to let the red appear just right in the frame. The feeling of the final output is highly satisfying, matching beautifully with the tone of interlocking gothic sweetness and cold elegance that I initially wanted. Hope friends viewing this set of photos can also perceive this attitude of slow work producing fine details.