Japonisme begins with the forced reopening of Japanese trade in 1858, when French high society began drawing inspiration from rediscovering Japanese design. The trend continues through the 1910s with designer Paul Poirent and artist Gustav Klimt, to the 1970s with David Bowie, the 2000s with Dior's SS collection, and finally landing on a composition of contemporary japonisme. Each set of figures in the final lineup draws inspiration from these three period (Late 19th century France, the 1910s, and the modern era 1970s - 2000s), with the last five figures representing a personal re-interpretation of the prior re-internpretations, symbolizing the continuity of recyling inspiration. 

Throughout these periods, artists have used japonisme and Eastern influence as a whole to break societal boundaries. Klimt used the art to create pieces that were considered incredibly erotic for his time; Bowie took inspiration to pioneer cross-dressing as a popular figure. Over time, the trend has geared away from its origins of fetishizing Japanese culture, towards empowering eroticism in modern society.

The trend has also veered away from it's original cultural appropriation towards a deeper appreciation of Japanese art and culture, tapping into key symbols and collaborating with true Japanese designers.

This collection is a re-interpretation of Japonisme across time, and taps into the resulting appreciative eroticism through lingerie pieces such as sheer kimono-style robes and 19th century bloomer-inspired undergarments.

Other key details in the collection include the open circle, a design detail inspired by japanese prints and a symbol of continuity; a re-interpretation of the Obi as a corset belt, melding the Japanese and 19th century influences, representing entrapment of the Unhappy Woman; the bustle, also taking inspiration from 19th century fashion and representing baggage, both of the customer and of the impact of cultural appropriation; a motif of crossed curved lines, representing intersectionality across cultures; and finally strings of beads, inspired by traditional Japanese hair accessories, with the different sizes and shapes representing moments of the trend's interpretation across history.

The collection resulting from this research is built for the Unhappy Woman, a customer who uses fashion to escape her reality through fantasy. The bright spring/summer colors starkly contrast with the colorless croquis drawn in increasingly dismal poses, from bordedom to misery to defeat to desperation.