This time shooting the Azur Lane Little Cheshire photo set, the clothing details are truly numerous. The whole outfit is mainly based on three colors: black, white, and dark blue. The chest features a white fabric base with black cross straps, and the black collar around the neck with a golden cross is very iconic. The cuffs are layered black ruffles embellished with white lace, and behind there are dark blue bow ribbons. The hair was specially chosen as a gray-black base wig with cyan-green highlights, matched with bright blue contact lenses, creating a very strong overall visual impact. To match this outfit, the lower body is a black short skirt with golden chains and cross pendants, layered with a very fluffy white long petticoat underneath, giving the skirt hem a distinct flowing feel when walking. White stockings are worn on the legs, and the shoes are black Mary Jane shoes with just the right heel height, making them not too tiring even after wearing them for a long time. The arrangement of the shooting venue leans towards a European retro style, featuring a white fireplace, classical oil paintings, candle holders, and angel statues. To better blend into the background, I adjusted my sitting posture and hand movements. The first set of actions is sitting on a white base, crossing legs, holding the skirt hem with one hand and extending the other hand forward, wanting to present a bit of interactivity and liveliness, while keeping the gaze directly at the lens to make the picture look more tense. The second set of actions is slightly more restrained, with legs hanging down naturally, hands placed on the legs and skirt, and a quieter expression, showcasing the overall elegance of the costume. This kind of large skirt hem is actually very hard to adjust in shape; during the shoot, I constantly had to check whether the inner lining shifted, and the fingers holding the skirt hem also needed to exert subtle strength to prop up a nice curve. Preparing this cosplay really took a lot of thought. Little Cheshire's setting itself carries a bit of cat-like attribute, so I intentionally brought in some playfulness in my demeanor. During makeup trials and wig adjustments, I tossed and turned back and forth several times. To make the gradient color transition more natural, I also trimmed the thickness of the bangs and adjusted the layering of the hair ends. The lighting at the venue on the shooting day was very hot, and wearing so many layers of clothes was indeed a bit tiring, but I persevered in adjusting the angles and postures to the best, and during shooting breaks, I had to constantly tidy up the flattened lace edges. Although the whole process was tiring, the moment I saw the photos, I still felt it was worth it. From the clothing accessory pairing to every prop in the scene, everything was done with restoration and dedication. During post-production photo selection, I also repeatedly compared compositions and light-and-shadow from different angles, hoping the final presented effect allows everyone to feel Little Cheshire's cuteness.