At Wimbledon this week, Naomi Osaka walked onto Court 3 in a custom white kimono-style robe by Tokyo designer Hana Yagi, embroidered with cherry blossoms and cranes and finished with a textured obi sash. She told reporters afterward she’d been thinking about Lucy Liu’s all-white kimono in “Kill Bill.” Then she won her first-round match against Elsa Jacquemot.

It’s the third Grand Slam in a row she’s turned the walk-on into couture. At the 2026 Australian Open, Robert Wun built her a wide-brim hat with a sheer floor-length veil and feathered white butterflies, inspired by her daughter Shai’s love of jellyfish. At the French Open, Kevin Germanier gave her a black beaded corset cascading over a shimmering gold Nike dress, with Victorian-style gold tulle added in later rounds.

Osaka has said she doesn’t talk much, so she lets the clothes do it. The looks carry her Japanese and Haitian heritage, her motherhood, and her tennis history all at once. The butterflies in Melbourne nodded to the moment in 2021 when one landed on her face mid-match and went viral.

Osaka been a Louis Vuitton global ambassador since January 2021, launched a swimwear collection with Frankies Bikinis that May, and has put out multiple upcycled denim collections with Levi’s. In 2020 she did a 10-piece capsule with Japanese-American designer Hanako Maeda’s label ADEAM during New York Fashion Week.

Critics have called her outfits “extra” and “classless.” Her answer: “I don’t do this for them, though; they will never get it, and I don’t want them to. I do this for the people that are like me.”

The pushback isn’t new. Andre Agassi spent the late 1980s getting the same treatment for acid-wash denim shorts at the 1988 US Open, for a hot-pink-and-black kit at the 1990 French Open that reportedly pushed the ITF to tighten dress codes, and for boycotting Wimbledon from 1988 to 1990 rather than conform to its all-white rule. The Williams sisters caught a version of it too. Agassi finally played Wimbledon in 1992 and won it.

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