This Nangong Yu costume has great layering in terms of material and color coordination. The main color scheme of black, red, and white, accented with light blue and pink, creates a strong visual contrast. To restore the best state at the convention site, I put a lot of effort into wearing and styling.
Let's talk about the details of the costume first. The heavy sleeve on the right arm with black plush edges is a major highlight of the entire styling, but due to its large volume, it easily slips when worn, so I made an invisible fixation inside. Echoing this, the black long boots on the legs are also pieced together with plush, which requires special attention to the center of gravity when squatting or making large movements. The edge of the white short skirt features multi-layered pink and black ruffles. To prevent accidental exposure when walking and adjusting poses, I paired it with matching inner shorts under the skirt, and added small weights to the inside of the skirt hem to ensure a naturally drooping curve while ensuring that multi-angle shooting won't have issues.
The treatment of the wig and makeup is equally important. The black blunt-bangs short hair features pink highlights at the tips, and the double ponytails on both sides are matched with a large pink bow and multiple light blue small bows, packed with elements. If running around at the convention all day, the wig easily flattens or builds static electricity. I used hair wax and styling spray in advance to handle stray hairs and tips, and the light blue circular halo prop on top of the head was also equipped with hidden hairpins for fixation. Red contact lenses matched with the overall makeup can enhance the sharpness of the gaze, making the photos look more spirited.
The shooting environment for convention photos is completely different from a studio; the on-site lighting and background crowds are full of variables. This time we found a venue with a huge glass curtain wall. The natural light passing through the glass curtain wall is very translucent, which can well restore the gloss of the costume's leather and the texture of the plush. I usually suggest the photographer take the squatting pose from a slightly overhead angle, which not only fully displays the leg lines and shoe details, but also completely frames the large white prop behind into the picture.
The handheld prop and the inflatable-feeling weapon behind occupy a large proportion in the frame. During the shoot, the hand holding the prop should grip it slightly firmly, keeping the wrist from stiffening to avoid blocking the facial contours. The weapon behind needs shoulder straps adjusted to a suitable position to ensure it won't shift significantly when turning around and squatting. When shooting such complexly coordinated stylings at a convention, the photographer's candid shooting speed is crucial. I usually align the composition and lighting with the photographer first, then maintain the pose and quickly produce shots.
Regarding the presentation of this character that combines cuteness and coolness, I think the key lies in the naturalness of the actions. The squatting pose combined with the weapon in hand presents a sense of contrast. This contrast doesn't need to be deliberately forced, but is naturally revealed through the combination of the heavy costume itself and the plush elements. The costume design itself is already rich enough; I just need to adjust my state in front of the lens, focusing on conveying the gaze and handling the props.
The biggest charm of convention photos is that they come with the live atmosphere of the convention. Those modern architectural lines and glass reflections in the background are unique cultural landscapes of the convention. For this styling, from costume fitting and prop adjustment to harmonizing with on-site lighting, a lot of energy was spent. When checking the final photos, seeing every wrinkle of the costume and every corner of the props clearly recorded, the exhaustion at that moment vanished into thin air.