For the convention shoot this time, I started preparing this set of Navia's costume and accessories half a month in advance. From styling the wig to sewing each blue gem, and the tailor's adjustments to the skirt's pleats, every detail was made to match the original design as closely as possible.
Waking up at 5:30 AM to start hair and makeup, the base and eye makeup alone took over two hours. To recreate the character's sharp yet elegant aura, the eye makeup was deliberately deepened in contour, paired with blue colored contacts, hoping to make the gaze match the setting. Walking into the venue wearing the outfit, I truly felt the weight of this costume. Especially the tricorne hat on my head, decorated with metal and roses, wearing it for a long time really takes some getting used to, but for the sake of the final photos, it's nothing.
The venue was crowded, and both temperature and humidity were on the high side. While sitting and resting, I was actually a bit nervous, afraid of wrinkling the skirt or knocking off accessories. In this set of Convention photos, there's a picture of me sitting on a high stool, adjusting the brim of my hat with my right hand and reaching forward with my left. To find the perfect angle, the photographer and I communicated for a long time, discussing where my center of gravity should be and how to extend the leg lines to look natural. The combination of black Stockings and high-heeled boots visually elongates the proportions, but during the actual shoot, the heels were very high, requiring constant adjustments to the foot's support points to maintain a stable posture.
Shooting while walking was another experience. To capture the moment the skirt and long hair fluttered, I walked back and forth along the exhibition hall corridor many times. Although the orange-yellow outer skirt has some weight, it shows great tension on camera. When taking frontal close-ups, the lace choker on the neck and the gold chain at the collarbone had to be meticulously arranged to avoid being covered by hair. While the costume fabric looks gorgeous, the inner lining is actually quite stuffy, especially in a crowded place like a convention. The gear accessory at the waist is actually quite heavy and drags down after being worn for a while, so I often had to subtly pull up my corset. The gloves are made of semi-transparent black mesh; to prevent my nails from tearing them, I trimmed my nails and applied clear polish. The bending angle of the fingers during the shoot also required deliberate practice to look soft and not stiff.
A massive amount of styling spray was used on the hair. The blonde wig is waist-length and easily gets tangled when walking around the convention. I carried a wide-tooth comb with me and combed it whenever I had a free moment. To prevent the wig from tangling with the metal buckles of the skirt while walking, I would gently brush it back with my hand. Over time, this action actually became a natural moment captured in the photos.
Convention photography is different from studio shoots; the ambient light is complex and the background is crowded, which tests the photographer's composition and lens focal length. I needed to match the rhythm of the lens, keeping my eyes focused the moment the flash fired. After a full day at the convention, the physical exertion was huge, and my ankles and shoulders were protesting. But being able to meet fellow fans of the same work, helping each other adjust costumes and discussing characters, made the atmosphere feel incredibly worthwhile. The detailed craftsmanship of this costume was also recognized by many people during this process, making me feel that my hard work had paid off. Although the entire process was exhausting, seeing the character amidst the interplay of light and shadow in the final shots makes it feel like all the preparation and hard work have melded into these few photos. After the convention itinerary ended, taking off the heavy accessories and hanging up the clothes marked a satisfying conclusion to this journey.