Eastern aesthetics are currently experiencing a true renaissance in the fashion world. Designers are increasingly drawing inspiration from traditional Japanese, Korean, and Chinese motifs, reinterpreting them through a contemporary lens. Runways are filled with kimono-inspired silhouettes, intricate hand embroidery, floral patterns, and accessories that pay tribute to Asia’s rich cultural heritage.

Tennis star Naomi Osaka has also embraced the trend, once again proving that her appearances on the court are as much fashion statements as they are sporting events.

For her opening match at Wimbledon, Osaka chose an exclusive all-white ensemble created by Japanese designer Hana Yagi. Inspired by traditional Japanese ceremonial attire, the outfit was crafted from vintage bridal kimonos, giving it a deeply symbolic meaning.

The dress featured embroidered cranes and blooming cherry blossom branches – two of the most iconic symbols of Japanese culture, representing longevity, happiness, renewal, and the beauty of life’s fleeting moments. A dramatic oversized bow with a flowing train provided the perfect finishing touch.

The look was completed with traditional Japanese kanzashi hair ornaments and elegant Mikimoto pearl earrings. With this appearance, Naomi Osaka once again reinforced her reputation as one of the most stylish players in tennis while gracefully paying tribute to her cultural heritage.

Photo: Instagram @naomiosaka

At the Met Gala – 2026, designer Robert Wun presented three monumental couture looks for Beyoncé, Lalisa Manoban, and Naomi Osaka. All of them were created using more than one million hand-applied Swarovski crystals, transforming the garments into intricate light structures. Each look became a distinct story about the body, light, and individuality.

Beyoncé – «the starry sky» rendered in couture

For Beyoncé, Wun designed The Stargaze Gown, in which the idea of a nighttime city seen from an airplane was transformed into a «starry sky embodied in couture». The Swarovski crystals scattered across the fabric created the effect of a shimmering cosmos above a nocturnal metropolis.

The silhouette of the gown was architecturally constructed: a fitted bodice flowed into a flared skirt, while a sheer veil, also encrusted with crystals, added lightness and ethereality to the look. More than 318,000 stitches and over 4,300 hours of handwork turned the gown into an almost jewelry-like object.

It was Beyoncé’s second look of the evening – she changed outfits inside the museum itself.

Naomi Osaka – the body as a map of light

Wun built Naomi Osaka’s look around the idea of human anatomy, transforming the body into a visual map of movement and tension. Red-toned crystals appeared to trace muscles and contours, creating the effect of a living structure.

The gown fit like a second skin, emphasizing every movement, while the open back with lacing added sculptural depth. The appearance also included an element of transformation: Osaka first arrived in a coat, which she removed on the stairs, gradually revealing the couture look.

The creation of this look was one of the most technically complex – over 659,000 stitches and more than 3,280 hours of handcrafting.

It was a direct visual interpretation of the Met Gala theme – «the body as a canvas».

Lalisa Manoban – the bride who controls her own image

For Lalisa Manoban, Wun created The Veil, a look in which bridal aesthetics are reinterpreted as a symbol of control and independence. The sheer crystallized mermaid gown served as the foundation for the central statement – a sculptural construction of hands holding the veil.

These hands were created using a 3D scan of Lalisa’s body and reference the posture of traditional Thai dance. They form an almost theatrical gesture – as if the model herself controls the moment of revelation.

The concept behind the look is the «bride of the future», who decides when and how to reveal herself to the world. The creation required over 66,000 crystals and around 2,860 hours of work.

Each of these appearances was not merely a dress, but a complex construction between fashion, art, and technology. Robert Wun designed the looks as light installations that shift with the movement of the body.

The Met Gala – 2026 once again confirmed its status as the year’s most important fashion event, where couture ceases to be just clothing and becomes a language of art.

Photo: Instagram @swarovski, @lalalalisa_m, @naomiosaka