“The Devil’s Trill” has been tailored into a dreamlike dress.

An antique mirror frame from the 17th century, crowned with a jackalope.

Beneath the frame, a white rabbit lies hidden; vines and grapes, an angel figure, and a harpsichord with a Baroque violin are arranged so that they form a single “scene.”

Not a composition of delicacy, but one in which a forbidden beauty appears perfectly composed.

The ground is an elegant deshin with a refined sheen. The gloss is restrained, kept to a surface reflection that allows the lines and shadows of the print to prevail.

The peplum at the waist is chiffon. With each step, air slips in, and the movement arrives before you do.

The bustle at the back is satin. Only at the moment you turn does a single point catch the light, leaving an impression in memory.

—The front is “wind,” the back is “flash.” The reflections of light are deliberately divided between them.

The color palette carries the warmth of rose pink and the night air of classic blue.

The sweetness and peril within “The Devil’s Trill” are translated not into sound, but into sight and touch, creating a piece that blurs the boundary between fantasy and reality.