Planewalker: A Fashion Editorial

Planewalker: A Fashion Editorial

The realm of science fiction, through the lens of Western filmmakers, has often borrowed from the cultures of the East. Asian elements and symbolisms are used as trivial milieu in a futuristic world that circles around a Caucasian, cisgender male protagonist. The genre has set Asians to the side by large, cast in minor roles only to be set aside in the plot. The stereotypes in cinema box Asian characters into cold and detached individuals who have intellectually regressed despite living in a world of technological advancement. 


By adapting the genre’s dimensional traveler archetype, Planewalker draws on a universe where Asians take on ostentation, gallantly showcasing all nuance and capability to occupy space and transcend dimensions.

In this editorial, photographer Joseph Bermudez captures performer Jao of ALAMAT as he traverses universes.

Planewalker: A Fashion Editorial

Cardigan by ISSEY MIYAKE, Pleated skirt by SACAI from GIVE ME THE LOOT

The Planewalker is the universe’s most forceful mage, capable of crossing over different planes of existence. To dress up the necromancer, LA Styling Studio opts for jewel purples and blues, pompous patterns and an endless assortment of textures to reflect the multifaceted individual.

Planewalker: A Fashion Editorial

Deconstructed top by STEPH VERANO, Graphic pants from SEASON PASS, Brass jewelry by NAWA PH & TIM TAM ONG

As we imagine a reality where Asians no longer have to fight for visibility in the media, the Planewalker is capable of stepping across universes, even creating new ones amongst a population that is unaware of a world beyond their own. He’s a magician with the map of the multiverse in the palm of his hand.

Planewalker: A Fashion Editorial

From sci-fi’s iconic Blade Runner (1982) to the whitewashed remake of Ghost in the Shell (2017), techno-orientalism proves itself as a persistent gene that passes itself on throughout the years. The truth is, sci-fi doesn’t have to be “pretentious” to be inclusive. The family-friendly film Big Hero 6 (2014) fleshes out its Asian American protagonist fully well. Titles Everything, Everywhere, All At Once (2022) and Train To Busan (2016), among others, demonstrate our capability to dominate the genre, where Asians take a rightful place as the protagonists.

Planewalker: A Fashion Editorial

Button-down with ostrich feathers by STEPH VERANO, Gold chainmail top by STEPH TAN, Vintage jeans from SEASON PASS

We draw inspiration from 2000’s Frutiger Aero, influenced by sci-fi media and video games, and combine it with comprehensive depictions of Asian characters. By tapping into nostalgic aesthetics of the past and inserting ourselves into the narrative, we bridge the divide as we tap into a shared cultural experience that has long-defined our plight against misrepresentation.

Planewalker: A Fashion Editorial
Planewalker: A Fashion Editorial

The richness and vibrancy of Asian culture are all-encompassing. Our symbolisms, practices and physical manifestations will always be attached to our people; you cannot take it out of our hands.

Planewalker: A Fashion Editorial

Embroidered jacket by MOSCHINO from GIVE ME THE LOOT, Tribal pants from SEASON PASS, Necklace by TIM TAM ONG, Hair tattoo by TATTUMUNDO

Planewalker: A Fashion Editorial
Planewalker: A Fashion Editorial

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Creative Direction and Photography Joseph Bermudez assisted by Daryl Nacario 

Muse Jao of ALAMAT

Styling LA Styling Studio assisted by Raf Villas

Hair and Makeup Janica Cleto 

Set Design Studio Tatin 

Words Gwyneth King and Miko Apura


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