The preparation process for today's styling actually took a lot of thought. The wig was made into light blonde long straight hair with blunt bangs, paired with those fluffy large ears on top of the head. The overall head styling carries a heavy sense of weight and had to be secured to the scalp with numerous bobby pins to prevent slipping. The red, white, and blue decorations at the base of the ears, along with the small white flowers and red tassels, were all meant to make the details more accurate to the original. To match that light yet mysterious atmosphere, green circle lenses were purposely worn, the eye makeup emphasized a translucent feel, and the blush was applied relatively lightly.
In terms of clothing, the outer layer is a light pink modified kimono style with wide cuffs, embellished with blue and white geometric patterns. The straps on the obi waist binder are very intricate, with cyan-blue and red crossing over, along with that iconic yellow amulet pendant. The lower body features wide pleated hakama-style trousers with red stripes on a black base; the material is somewhat heavy, but under natural light, it showcases a wonderful drape.
The most eye-catching part is definitely those huge plush tails behind me. Predominantly gold with white tips, the tails required careful grooming, and during the shoot, their direction had to be adjusted at any time to achieve that fluffy and agile feel. Especially when lying down or lying sideways, an assistant was needed to spread the tails out on the tatami mats to achieve that voluminous presence. On my feet, I wore White stockings and black geta; the fit was great, and although walking was a bit strenuous, the sound produced when stepping on the wooden floor added a strong sense of immersion.
For this shoot, a Japanese-style garden and interior were chosen as the main settings. The outdoor wooden corridor, shoji sliding doors, and stone lanterns, combined with natural wood tones, let the natural light filter in very softly. To capture the light and shadow, sitting and standing postures were repeatedly adjusted in the corridor. Inside, a retro radio, old-fashioned electric fan, and square television were set up; this nostalgic Showa style colliding with Japanese-style clothing created a wonderful feeling of breaking the dimensional wall.
During the shoot, to showcase the layering of the tails and the costume's hem, actions such as standing, sitting on the corridor, and even lying on the tatami mats were attempted. To keep the frame from looking rigid, I also picked up that red Japanese paper umbrella. The umbrella ribs are made of wood and carry some weight; whether opened or closed and placed aside, it richly enhanced the composition. When lying or sitting on the wooden floor, attention had to be paid to the extension of the leg lines, and the pairing of White stockings and black geta with red straps formed a very distinct visual focal point in the frame. Indoor lighting is relatively fixed; to capture the texture of the pink fabric and the details of the plush props, the shutter speed was adjusted accordingly. Overall, this work put a lot of effort into both the meticulous recreation of clothing details and the retro atmosphere of the settings.