The most eye-catching feature of the actors is Wu Zetian's empress in the training ground. When Di Renjie met Wu Zetian for the first time in the film, she was reviewing the imperial examination for the champion of the year. In order to highlight the majesty of a generation of empresses, the scenes and makeup and costumes in the film are extremely luxurious. The film’s styling guide Yu Jiaan introduced that she deliberately made Carina Lau’s hairstyle towering and added many layers to her outfit. This set of outfits has four layers of clothing, each layer of clothing is made of four layers of materials and embroidery to highlight Wu Zetian’s Mighty momentum. The makeup of this model is based on the portraits of the Tang Dynasty and Dunhuang murals. It is even inspired by the makeup techniques of designers John Galliano and Alexander McQueen on the fashion runway. After improvement, this model was created. "Tide" and "prestige" shape
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Yu Jiaan, the winner of the Hong Kong Academy Awards, is the styling director of "Detective Dee and the Mystery of the Phantom Flame". Director Hark Tsui hopes to show Wu Zetian’s power through the shape of this training ground. It feels mighty, but the clothes can't be too thick. In the end, he only added four layers of clothes to her, and each layer added another four layers of material to give her a heavy feeling. The final result is very good, but with various decorations and embroidery, the dress is very heavy, and every time a person has to be moved to the site with a special bag. Each set of Wu Zetian's clothing in the film has very exquisite embroidery, which requires four to five working weeks to complete by hand. Some fabrics and materials are from the collection of Huang Baorong's studio, and even some rare fabrics are priceless. The simple construction cost is close to one million yuan
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Wu Zetian's headdress also spent a lot of thought, because this time she wanted to make her feel "prestige", her hair was deliberately combed high and huge. Use real hair as much as possible on the outer head, and use the lightweight material of shadow puppets to make the headgear skeleton on the outer part, and then plate it with gold foil. Although we have tried to find the light material, it is already heavy on the head, not to mention the headgear
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Hark Tsui and Yu Jiaan spent a whole year planning and making makeup and styling. The crew used a lot of leather and embroidery craftsmanship, searched for precious fabrics, combined with various traditional crafts such as gilding, shadow puppetry craftsman, etc. to complete the costume needs of various characters in the play. In order to support such a large scale of production, in addition to setting up a factory in Beijing for production, the crew also opened a separate workshop next to the Hengdian studio, working day and night from the two places to make Tang Dynasty costumes that fit the imagination of director Hark Tsui. Styling director Yu Jiaan revealed that some of the fabrics and embroidery in the film are even priceless, and it is impossible to simply estimate the overall value of the entire film's styling
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