The Tokyo-based designer explains the craft, cultural references, and soft symbolism behind the ensemble that became one of the tournament’s defining fashion statements
By now, memorable walk-in moments have become something of a signature for four-time Grand Slam champion Naomi Osaka. Wimbledon this year has been no different.
The 28-year-old tennis player walked onto Centre Court for her first-round match last week in an intricately designed all-white kimono-inspired garment worn over her Nike dress, that has since been discussed, dissected and, no doubt, will earn its place in the annals of tennis fashion.
After blitzing through the first round last week, Naomi spoke about her outfit to the press, stating that she was inspired by her culture and the ‘iconic kimono silhouette’, as well as Wimbledon’s strict dress code to adhere to white attire. O-ren Ishii played by Lucy Liu in Kill Bill, who makes an appearance in an all-white kimono, also served as inspiration.
The Creative Vision
Behind this creation is Tokyo-based designer Hana Yagi, who collaborated with creative director and hairstylist Marty Harper to bring this look to life. “I was contacted by Marty Harper and from the very beginning, we had a clear direction: to respect Wimbledon’s all-white tradition while reinterpreting the structure and philosophy of traditional Japanese clothing within the context of contemporary sports,” she says.
Several conversations with Marty followed, and Hana proposed using vintage shiromuku (a traditional all-white bridal kimono), kimono fabrics and tulle. “The concept behind the look was to reinterpret the structure of the traditional Japanese kimono in a contemporary way. Rather than recreating a kimono as it is, I wanted to translate its structure, philosophy, and beauty into the language of sport.”
Tradition Meets Sport
Hana explains her vision: “Instead of treating tradition as something fixed, I see it as something that evolves through repeated deconstruction and reconstruction.” All of this was done while preserving elements such as the silhouette of the kimono sleeves and the ceremonial presence of the shiromuku. “It also needed to be lightweight and comfortable enough for Naomi to walk onto the court. It was equally important that the outfit could be put on and removed quickly.”
The finer details are equally eye-catching. Embroidered cranes and cherry blossoms embellish the kimono-inspired garment, while an obi belt, punctuated with bows, ties the look together. She donned a traditional kanzashi, or an ornamental hair pin featuring flowers as well.
When Naomi first drifted out onto the court, a vision in white, she also picked up her racquet and played a few shots to warm up; something Hana had to keep in mind when designing the outfit. “Although it appears voluminous, I repeatedly experimented with different material combinations and construction techniques to achieve both lightness and a strong visual presence,” she said.
The Designer’s Philosophy
Hana’s use of a shiromuku and vintage fabrics for Naomi’s outfit mirrors her design practice, which takes a creative approach to materials that are not typically experimented with. She primarily works with vintage wedding dresses and shiromoku that have completed their ceremonial lives at wedding venues and photo studios, and then lie discarded.
“These garments were once created for someone’s special day, yet many are eventually discarded because of stains, damage, or simply because they have fulfilled their purpose. Rather than erasing the time and memories they carry, I want to dismantle and reconstruct them so they can continue into a new story,” she says.
Her Sanguine Bride collection for instance, featured discarded wedding dresses which were then deconstructed and dyed red. British singer-songwriter Paris Paloma, most notably, donned an outfit from this collection during a stage performance.
A Cultural Exchange
Since Naomi’s appearance, Hana notes an increase in interest not just in similar pieces, but also in the ideas behind her work, and the way she approaches the materials she uses.
“More than simply presenting Japanese culture, I wanted to respect tradition while reinterpreting it within a contemporary context. It was a great honour to express that idea through Naomi Osaka’s Wimbledon look, and I also believe it became an opportunity for different cultures to meet and create something new together,” she adds.
Naomi’s collaborations with Nike, Marty Harper and a host of couturiers to create iconic on-court fashion moments have become something fans eagerly look forward to. In January this year, Naomi made a memorable entrance at the Australian Open in a teal-and-white, jellyfish-inspired outfit by Robert Wun. At Roland Garros, she followed it up with a black-and-gold shimmering ensemble by Kevin Germanier that paid homage to Paris’ Eiffel Tower.
