[2024.08.29] Figure Skating Life Extra "Yuzuru Hanyu PROFESSIONAL Season 2"

[yuzurujenn]

Info: 

https://x.com/fskating_Life/status/1828953371572846812

https://www.amazon.co.jp/dp/4594622488

https://books.rakuten.co.jp/rb/17944882/

 

BTS Video:

 

 

Yuzuru Hanyu's latest 46-page photo shoot and exclusive interview, where he is now 29 years old and in his third year as a professional. A 17,000-word exclusive interview in which Yuzuru Hanyu himself looks back on his second year as a professional athlete!

 

"I realized that there was still so much potential left."

 

In his second year as a professional, he completed his first solo tour "RE_PRAY". As both a producer and an artist, Hanyu seems to have explored and elevated his expression to a higher level. However, the response he spoke of was unexpected. It is also full of episodes that are being revealed for the first time, such as behind the scenes of "Fantasy on Ice 2024" and the secret story of the self-choreography of "Meteor". From the 17,000-word long interview, we explore where he is now in his third year as a professional and the state he is aiming for as he approaches his 30th birthday.

 

Includes 45 new photo shoots by Toru Yaguchi and two double-sided posters!

The latest shots taken by photographer Toru Yaguchi, whose photo book "Hanyu Yuzuru" is a hot topic, are published over 46 pages.
Hanyu, dressed in fashionable clothes and showing various movements and expressions to the music, is captured in full detail. The quality is exactly like a photo book. Please enjoy the beauty created by the two of them in the light and shadow. There are two types of covers: "Regular Edition" and "Amazon & Rakuten Books Limited Edition". You can also enjoy the other cuts used on the cover as an appendix of two double-sided posters.

 

● Report on his second year as a professional ice show
"Fantasy on Ice 2024" Aichi performance (photographed by Taguchi Yujii)
"Yuzuru Hanyu ICE STORY 2nd "RE_PRAY" TOUR" Yokohama performance (photographed by Asakura Keiko)
"Hanyu Yuzuru notte stellata 2024" (photographed by Asakura Keiko)

● Interviews with co-stars
Tanaka Keiji... the depth of his seriousness towards his performance, it feels like he is burning his life into it
Yamamoto Sota... I really admire the passion he has for this moment right now
Daichi Mao... his skating is truly special, "someone chosen by God"

● KOSE "Sekkisei Miyabi" & Hanyu Yuzuru - The world of beauty

Hanyu Yuzuru serves as the global muse for KOSE "Sekkisei". We interviewed the advertising production team for Sekkisei Miyabi "Moisture Protect Serum", nicknamed "Wakatake no Kimi" among fans, and will introduce the concept, costume design, filming episodes, and more along with a number of precious photos.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.29

 

Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 50-65

 

Interview: Hanyu Yuzuru

“I realised that there was still so much potential left”

 

Hanyu has completed his 2nd year as a professional athlete. Having completed his first solo tour, "RE_PRAY," it appears that he has explored and elevated his expression to a higher level, both as a producer and as an artist. However, the responses that he spoke of were unexpected. From this valuable long interview, we explore where Hanyu Yuzuru is now in his third year as a professional and the state he is aiming for.

 

(Interviewed in Sendai on June 17, 2024)

 

Spoiler

Q: Let's start with the recent activities, starting with Fantasy on Ice's Makuhari and Aichi performances. What was your overall impression?

A: Well, after all, since I did my own solo tour, my awareness as a professional, my sense of who I want to be as a skater and the kind of effort I want to put into shows have become much more solid. In that sense, even though it was "Fantasy on Ice," I think I was able to approach my performance with a completely different sense of responsibility than I had up until last year.

Q: Was it due to the experiences and feelings accumulated during your second year as a professional?

A: Although it has only been two years, my sense of responsibility for the show, my gratitude for everyone's willingness to come to see me and support me, and my desire to cherish and respond to their expectations have all become stronger. Even though it was not my solo show this time, I felt that I performed with the same passion. Maybe because I was with other skaters, this feeling was more prominent in my heart, and I felt that I had indeed changed since becoming a professional skater.

Q: Do you feel differently in solo shows and shows with other skaters?

A: Until last year's Fantasy, I strongly felt that sense of comfort that comes with it being "Fantasy on Ice”. However, for example, there were certainly physical challenges, like having to do a quadruple jump in the Opening, but this year, rather than feeling that sense of comfort, I thought more about what it meant to skate here, and treated each program sincerely. However, after all, the seniors have gradually retired, such as (Evgeni) Plushenko and Johnny (Weir), and while Stéphane (Lambiel) is still here, (Nobunari) Oda-kun was not in A tour, and I felt that I have become a more senior, prominent figure in “Fantasy on Ice”. In that sense, I did feel a sense of responsibility. I felt that I needed to lead where I could, and the performance expected of me was no different from my solo show. And while skating, I was also thinking about the meaning of performing two programs, so in that sense, looking back now, this atmosphere was probably what I wanted to convey in Fantasy this time. As for the collaboration program, I performed “Meteor” with a sense of nervousness, as Nishikawa-san (Takanori) was also very passionate about the song. And I think because I was able to echo his passion with my skating that a sense of power and agility was brought out in that program.

Q: "Meteor," which was also the insert song for "Mobile Suit Gundam SEED," is a song that holds a lot of meaning for you as well?

A: Yes. It is one of my favourite songs, but since I like it so much, it was not easy to imagine myself skating to it. On the contrary, if it is a piece I am not familiar with, when someone says to me, "Please skate to this," I can still think about how to skate while listening to it. But, because it is a piece I am already very familiar with, I will think, "Eh, I already have this image in my mind, but I need to build the skating from here?" In that sense, because I like it, it is even more challenging to skate this program. I remember it being very difficult.

Q: I heard that it took you about four weeks to create the choreography.

A: It really took that long (laughs). After all, Nishikawa-san has very strong vocals, and I had to think about how to match that. And because I’m so familiar with this song, I could hear all the different sounds, so I needed to decide how much I should express. I also wanted to stay true to the image of the original work as well as the feelings that Nishikawa-san himself would have singing this song, but since I was the one skating, I also wanted to value the image I had in my mind. It was really difficult as there were so many complicated elements entangled together. When I was choreographing, I kept thinking, "This is not right, that is not right."

Q: It's because you have a strong attachment to the song.

A: It's really difficult.

 

Creating a program that starts from the feet

Q: The program included choreography that evoked a story. Was this choreography inspired by your desire to value not only the music but also the story that had influenced you?

A: That’s right. The story is of course important, but I also didn't want it to become like a theatrical performance. If I focus too much on the story, it will easily become too theatrical and lose the essence of the music. When I choreograph, I always try to "avoid making choreography that can be put into any program." I believe there must always be a unique relationship where the choreography is essential to the music and the music is essential to the choreography, so, while valuing the story, I was very conscious of expressing the image, rhythm, and melody of the music. 

Q: The gesture of putting Tori (the bird-shaped pet robot that the protagonist got from his childhood sweetheart) on the shoulder made me think, "Could it be…?" even though I’m not familiar with Gundam.

A: Yes, yes (laughs). The main character (Kira Yamato) is bound by the past, but he has to fight because of the expectations placed on him. I am not the type to be overly tied to the past, but I think I can understand that sense of obligation to fight while carrying expectations. It doesn't matter if you want to do it or not, it's like you have to continue on as part of your mission. When I skated with those feelings, I thought that if I expressed too much of myself, it wouldn't fit the music. Considering various things, I was hesitant to make the choreography with Tori at first, or to make it a point like "That's the scene", but going back to what I said earlier, when I thought about "what can only be done in this program", I thought "But, this is Kira, and it's "FREEDOM", so if I thought about it properly, I thought it's better to include it. If there’s a part that leaves an impression, it would make it easier to recall the story. I thought it would be easy to convey to the viewers, and I thought it would not only satisfy my own feelings, but also satisfy those of the viewers. I put it in while considering the balance.

Q: When I first saw it in Makuhari, I didn't know who choreographed it, so I thought the choreographer must be a fan of Gundam...

A: Haha, he is (laughs). But I think that's a program that typical figure skating choreographers wouldn’t be able to do. When I’m creating choreography myself, I often notice that I tend to start from the feet. For example, "Ashura-chan" was like that, and "GIFT" too, where I build the choreography by setting the rhythm with the feet first and then adding the upper body movements. So, the upper body doesn’t lead; often, it takes a while for the upper body movements to come together. In figure skating, it’s more common for choreography to start with the upper body and then add steps or turns as needed. Since I start with steps and turns, my programs probably end up being a bit different from what you might expect from a typical figure skating choreographer. Because I’m aware of this, when I create something like "Messenger of Ruin" or a program for a solo show that’s more like a typical figure skating program, I sometimes think the opposite, "Lead with your upper body!"

Q: You remind yourself of this.

A: Yes. Otherwise, it might not feel like figure skating. I think about whether I should focus more on picking up the melody, or if I should create parts where I don't pick up the melody to make it feel more like figure skating.

Q: Is this approach of creating programs starting with your feet related to what you said before about your tendency to catch the sounds of bass and drums when listening to music?

A: Ah, yes, I do catch them. It's partly because of that, but it's also something that figure skaters generally don't do with their feet. For example, this time I had my own part in the finale of Fantasy, “High Pressure,” and I had to improvise differently each time, as it would be too fast if I had to pick up all the sounds of the percussion with my feet (laughs). But I did it unconsciously, and I have always liked doing that kind of thing since I was a little kid. So, it is not something that a typical figure skater can do, but something that only a person who likes music and can hear sounds very well can do. In that sense, I guess I am a bit more like a dancer.

In addition, I believe that my style may have been influenced by Alexei Yagudin and Kurt Browning. Yagudin's "Winter" (2001-02 season short program) has that famous toe step, and if you ask me whether it’s about capturing the sounds, I think it’s more about matching the gradually rising violin sound to create a climax. I just adapted that approach to fit with the rhythm. Kurt Browning, on the other hand, focuses more on capturing the rhythm than the melody and is very precise. The beats and rhythms that are difficult to hear are visualised in this way, changing how the music is perceived. It’s like experiencing music visually. I was greatly influenced by Kurt in this respect. So, I was influenced by both Yagudin’s use of toe steps to emphasize the melody, and Kurt's footwork that fully expresses the sounds that are often unnoticed and hard to capture. I think my style was formed in this way.

In fact, when I was creating "Meteor", I watched a lot of Yagudin's performances because I really had no ideas (laughs). Speaking of which, the initial feeling was very similar to Gladiator. In the opening of Gladiator, he turned his body holding a sword like this, and I used that as a reference. When I was creating “Meteor” for figure skating, I wanted to present a very cool choreography, and when I thought about what a cool choreography is, the first person that came to my mind was Yagudin.

Q: So, the cool image you had was Yagudin.

A: Yes! I also like Plushenko very much, he is incredibly cool, but it’s not so much about the choreography, but rather the strong aura he exudes from within. As I get older, the more I listen to music, the more I can see the world that Yagudin wanted to express. I’ve only come to realise just how skilled he was now.

Q: In the past you were absolutely crazy about Plushenko.

A: That’s right. I always thought his overwhelming aura was so cool! But this time when I was creating “Meteor”, I was quite influenced by Yagudin's style. The toe-steps at the end of the interlude, just before falling to the ground, was completely Yagudin. The rhythm was a bit different, and the use of arms was more Hanyu-like, but that kind of footwork was definitely Yagudin, at least to me.

Q: I’ll watch it again later.

A: Please do! (laughs) It influenced me a lot. After the intro, when the singing starts and at the line ‘Frozen~’ (凍りついた~♪), the way the legs are spread out and the body is turned is something that Yagudin often used as well.

Q: Yagudin is scattered everywhere.

A: Yeah (laughs). I always watch it thinking, "I was influenced by him." (laughs).

Q: The costume is also very elaborate.

A: Yes!

Q: How was the design decided?

A: I first gave an image concept of the kind of design I wanted, and then having the designer to create and complete the design based on that.

 

Turning trouble into opportunity

Q: What about the decoration on the shoulder?

A: That was just a coincidence, really! Even the similarity in colour to the Gundam model that came with the limited edition of Nishikawa's "FREEDOM" CD was a complete coincidence.

Q: That's amazing!

A: I originally had an image of that colour as well, but when I first received the costume and checked it, the colour was much whiter and a bit of a lighter blue. At that point, I didn't know about the plastic model, but I was thinking that, “It would look better if it was darker", and then, during the costume check, I accidentally hit my forehead and got covered in blood (laughs). So, the costume got covered in blood as well, and I had to get it washed right away, but because of that, I was able to say without compromising, “Please make it a bit darker”.

That incident left a permanent scar, but I couldn't help but think it was a fateful injury (laughs). If I hadn't ended up covered in blood, I probably wouldn't have said anything. The colour was originally a lighter blue. So, it might have all worked out for the best in the end.

Q: Is your forehead okay now?

A: Although the scar is still there, the pain has mostly subsided. However, I still feel some pain when a large drop in atmospheric pressure occurs. Also, when I turn over while sleeping, it rubs against the scar, which can be a bit painful. But, while skating, I don’t feel any pain, and it’s nowhere near as painful as when I sprained my ankle (laughs).

Q: You have had many painful injuries in the past.

A: Yes, only painful injuries (laughs).

Q: Also, I think "Danny Boy" in Fantasy has evolved even more than ‘notte stellata’.

A: Wow, thank you!

Q: What did you do to make it even better?

A: I studied a lot about how to use my body and how to express myself in April. 'Danny Boy' was where I could most clearly showcase that. I gradually came to understand how to use my feet in jazz, how to incorporate the sound of the piano into my body, and how to pick up the nuances of the rhythmic fluctuations that I could feel as someone with a strong sense of rhythm. That’s the program where I could express these most easily.

Q: So, the evolution of your performance in Fantasy came from that study.

A: That’s what I would like to think (laughs).

Q: I thought the program was good at “notte stellata”, but it was even better at Makuhari, and I was really moved. The lines were also very beautiful.

A: Thank you! I’m so happy! Indeed, in such a program, the more delicate the way you show the lines of your body, use your arms, and how you connect your body with your arms, the better. It’s about wanting to use big movements, but not using the full range of motion, while still having everything perfectly controlled and in the right angle. It’s something you have to master for it to look good. Conversely, the more you master it, the better the program becomes. I feel it’s similar to programs like "Ballade No. 1" or "Introduction and Rondo Capriccioso."

Q: Until last year, you only skated one program. Why did you decide to skate two programs now?

A: When I was offered to perform on the show, I had already planned to skate two programs. After being told, "For this Fantasy, these are the song choices for you to collaborate with", I listened to those songs and thought, "Ah, one program probably won’t be enough." After all, many people know about my solo ice show, and for those who spent almost the same or even more money to watch Fantasy, I felt that I couldn’t just perform one program. I have such a sense of pride that I didn't want them to feel that it was insufficient. When considering how to maximise audience satisfaction, I felt that two programs would be the best approach.

But it was really hard... In ‘notte stellata’, in the first program it was a triple axel, so I didn't need to do a quad jump. But for the opening of Fantasy, I had to do a quad jump right after I got on the ice, which was really challenging (laughs). Naturally I had to prepare on land, as I also need to be ready before stepping onto the rink. But there was no 6-mins practice on ice, so it was really hard to do a quad jump right after getting onto the ice in that state... It was really tough even from the warm-up stage. Then I had to perform "Danny Boy" soon after that, so I was really exhausted.

Q: Now that Fantasy has ended, I think you finally had a chance to take a break. But are you already gearing up for the next stage?

A: I’m really thinking about various plans and keeping my antennae up. I can't go into details, but I have to do a lot of work. In that sense, it is a very challenging time for me.

Q: Are you in the stage of preparing various things now?

A: I guess you could say I'm in a phase where I'm actively putting things out there, rather than just nurturing ideas. For me, rather than accumulating ideas and then releasing them all at once, I tend to be better at inputting and outputting simultaneously. It's kind of like improvising choreography while listening to music. My expressions were born while being influenced by something. So, whether it's about planning or doing a photo shoot, most of the ideas that come to me are often inspired by the music on the spot.

Q: I always wondered how you gather your input.

A: Surprisingly, it's manga, and of course games. Recently, I've been reading some philosophy books and papers, so I might be spending a bit more time on such texts these days. I actually don't hate reading papers, and I read about two a week. It doesn't have to be a long paper, a short one is fine, and when I'm not feeling like it, I just read the summary (laughs). There are times when I just read the introduction and the conclusion and think, "Oh, I see, that's what it was about," but even so, I think just acquiring that knowledge will increase my range of expression, or broaden my perspective, so I try to make a habit of reading.

Q: How do you find papers to read?

A: When I was making RE_PRAY, I read a paper about game storytelling. The article analysed what was contained in the storyline of a game, and finally concluded that games have these characteristics. The paper was about how novels have this kind of storyline and these characteristics, but games instead have this kind of storyline and these characteristics. I read a lot of such works while creating RE_PRAY.

 

Behind the scenes of RE_PRAY

Q: How was the RE_PRAY tour for you?

A: I really learned a lot. It wasn't a one-month tour, but a series of performances over a longer period at several locations, so my mental state and my perception of "ice story" were completely different each time, and the reactions and feelings of the people who watched were different too. This tour really made me realise just how closely expression is linked to one's state of mind and background.

Q: The lighting and projection mapping were also very cool. In that regard, I felt a sense of novelty.

A: It made me realise again that there is still room for improvement in the field of ice shows, in terms of the use of lasers, projection mapping, and even lighting. I wasn't able to participate much in the production of "GIFT" (the first Ice Story). I didn't have the time. I was also working on "Prologue," so we didn't have many meetings.

Q: After all, it was being done at the same time as Prologue.

A: That's right! That's why I didn't have time to attend many meetings, but in RE_PRAY, I was more involved in the direction, visuals, and many other things, and in the process, I realised that there was still so much potential left. Conversely, I also realised how much that I hadn't been able to do before.

Q: The animation was also cute. Like (8-bit) pixel art.

A: I had a meeting with a designer who creates pixel art, and we decided that this would be good. When we think about games, they're not just limited to pixel art; there are so many games now with incredible realism. Nowadays, there are many games that are almost like movies, resembling real people, but still, I wanted something that would make the concept of game easily understandable for those who come to watch skating and ‘Yuzuru Hanyu’, and convey it in a way that’s straightforward. We thought a pixel art approach might be effective for that purpose. Although I really love realistic games and initially wanted to go with a more realistic style for the title screen, we ultimately decided that we wanted the audience to feel a bit of nostalgia when they saw the screen. That’s how we ended up with the pixel art design.

Q: It's very cute, I hope you will release merch someday.

A: Sure, we will, please buy it (laughs).

Q: I'm looking forward to it (laughs). Also, in “Prologue”, you performed “SEIMEI” at the beginning of the show with jumps like in competitions, but in “RE_PRAY”, “Messenger of Ruin” was placed at the end of first half of the show. And it was a free skate composition.

A: When I skated "Roncapu" at the end of first half of "GIFT," it was pretty tough, and I went into it thinking, "No, this isn't possible," but I managed to do it at the time... I wonder why I made it (Messenger of Ruin) into a free program (laughs).  

Q: To challenge your limits (laughs).

A: Really (laughs). When I was writing the story, or rather, once the structure was in place, I already had in my mind that 'this is definitely the music for the free program.' It wasn't about my stamina or anything, I just did it because I thought it was the best choice. But people around me were saying things like, 'Will you be okay? You were shaky even in the short program'. But I felt that it was precisely because I was shaky that I was able to fully express "Ruin", so I was like, "It's okay, it's okay to be shaky." I believed that “since I’m close to breaking down, the expression will come through”, but looking back now, I realised I was being really reckless.

Q: But even after doing all that crazy stuff, you kept moving without taking a break during the intermission.

A: Yes, I have to keep moving, really... I used a huge amount of spray to keep my hair in place. I used a really strong spray, so much so I couldn’t comb through it, and if I try to force it, the hair might all fall out. The comb would often break too. So, I had to wash my hair. First of all, since my fingers couldn’t get through the hair with shampoo, I had to use conditioner first to dissolve the hairspray before I could use the shampoo. One round of shampoo is not enough, so I had to shampoo twice, then apply conditioner again, making it a total of four washes. Instead of using a shower, I had to stick my head into the basin (laughs). It really took a lot of time, and after that, I had to dry my hair, style it, warm up, and then go out right away. It was really hell (laughs).

But I wanted to change the stiff hairstyle to a new state to make it look like it never happened, or rather, I wanted to change the atmosphere itself. The theme of RE_PRAY itself is "Starting from saved data", even though I had gone through the route of "Messenger of Ruin" (Save Data failed, Act 2), but I should start from where the data was saved, so in terms of the timeline, it means I should be back to the time before Act 1. Therefore, I couldn’t just restart with the image of being exhausted with messy hair after "Messenger of Ruin".

Q: You have to go back to the initial state.

A: Yes. Since I should be in the initial state, it needed to look like I wasn’t tired at all, and start with a completely different atmosphere as if ‘The data is loaded', so in my mind I had already decided to 'undo all the hair setting and start over.' In my simulation, I thought I could do it in 20 minutes, but it took longer than expected... So as soon as “Messenger of Ruin” was over, I took off my shoes, but it took about 5 minutes to take them off, then I went to the waiting room, where another 7 minutes passed. Then I managed to wash my hair in about 10 minutes, and from there it took me about 5-7 minutes to set my hair, warm up for 7 minutes, then put on my shoes immediately. It was hell.

Q: You said on a TV program that if you take a break, fatigue would hit you hard, but it seems you didn't even have time for rest.

A: Yes, that’s true... If I stopped to rest, I would realise how tired I was, so I tried not to stop, but, well, I didn't even have time to rest in the first place (laughs).

Q: I was going to ask you when you realised this, but I didn't expect this (laughs).

A: Haha (laughs). But because I was doing that in RE_PRAY, I knew that if I stopped, it would be over. Notte stellata 2024 is another example. There were three programs, "Notte (Stellata)", "Carmina Burana" and "Danny Boy", and I had to think about how I could maintain my physical condition without taking a break between those programs. Just like when I was doing my solo show RE_PRAY, I was constantly trying to keep my body in top condition for the next program.

Q: It's evolution through experience.

A: Yes. So, in a sense, this Fantasy feels the same way. I was always on the move.

 

notte stellata 2024 “I hope everyone will be happy”

Q: And about 'Notte Stellata 2024.' Regarding the collaboration with Mao Daichi, was it decided first to include 'Carmina Burana', or was the collaboration with Mao Daichi decided first?

A: Daichi-san came first. It is very difficult to decide who to collaborate with in the first place. Considering that the brand 'Yuzuru Hanyu' has a strong impact and there are many people at the venue who come to see “Yuzuru Hanyu”, it is very difficult to choose someone who can attract equal attention. While thinking about this, we thought "It would be better if the person could sing and dance as well. So Takarazuka Revue might be a good fit." When thinking about someone who could captivate the audience just with their aura in Takarazuka, we thought it would be great if we could ask Daichi-san.

Q: I see. And “Carmina” is one of the songs that fans have been asking for as a program they want to see someday.

A: Yes, "Carmina" is a piece with strong religious overtones, so it was difficult to use it as my own program. It could be seen as a difference in religious views.

Q: That is indeed difficult.

A: That’s right. I had always wanted to use it, but I thought it would be difficult to use it for my own program, but the producer (of “notte stellata”) sent me “Carmina” and said, “Go with this”. So rather than me choosing the song, it was decided by the producer from the beginning. He wanted me to skate to this, and collaborate with Daichi-san on this. So, the song was already selected and arranged. And I was determined to do my best.

Q: The worldview and aura were amazing.

A: When I saw “Carmina,” I knew that I could not do it alone. Each of us had a clear role to play, and the collaboration was something we could not have done without each other, so that was a good thing.

Q: I had the impression that “notte stellata 2024” was brighter than the first show, with a more positive aspect. At what point did you decide to go in this direction?

A: After last year's “notte stellata” was over, we had already talked about the possibility of doing it again next year, and at that time I was already thinking about making it more cheerful to some extent. Last year, I was too much affected by the 3.11. It was the first time for me to deliver a performance to people on March 11, after all, I rarely meet people on March 11, and I was often at home on that day. This year, however, I decided to do my best not just for my own personal feelings, but also to express my wish for the people who suffered from the various disasters, including 3/11 and the Noto earthquake, to “cheer up” and be healthy.

Q: Since I am also from Tohoku, I thought the first time would still be difficult to watch, but this year, I felt much more hope and positivity, so I was somewhat relieved.

A: Just like with RE_PRAY, I’ve been reflecting on what I really want to convey, and not just what I want to express but also “what I hope for”. I’ve started to think more about how I want things to turn out and what I need to do to express it. Of course, there are certainly things I want to convey and express, and many ways to do that, but I’ve gradually started to think about what I want the audience to feel and how I want them to react. This is true for both ‘Meteor’ and ‘Danny’, it’s not just about pushing my own emotions onto them; rather, I feel like I’ve started to view things from a broader perspective and think, “I want the audience to feel this way, so it’s okay to express it in this way.”

Q: In RE_PRAY, when you said that “everyone (the audience) is a player”, is that what you meant by that?

A: Yes. This is my recent theory, but when I read a novel or a manga, the dialogue and narration of the characters are ultimately spoken in my own words, or rather, in the voice of my own inner thoughts. There are voices of voice actors that I imagine, but in the end, it's my own voice that resonates in my head. It's the same with games; the story progresses, but the player who advances the story is myself, and that's what makes games interesting. In figure skating, since there are no words, and it's a form of physical expression without language, there’s a lot left to the viewer’s interpretation. This is why there is a greater freedom of interpretation, and this is also why some parts are difficult to understand, and this difficulty in understanding also allows for a greater degree of freedom in the feelings that can be received. I want people to enjoy this aspect, which is at the core of RE_PRAY and Ice Story.

For example, skating to 'Danny,' the way it is received in 'Notte' compared to 'Fantasy' would be completely different. With the various programs leading up to "Danny Boy", the way it's being perceived changes, the way the music is heard also changes, and of course, the lighting is different too, and I think that’s what makes skating so interesting, and Ice Story is always seeking for that. But, until now, I've often said things like, "It's so different depending on your emotions," or, "I have this image in mind, but I want you to see it as you feel it”, that being said, I feel like maybe I can guide the audience a little more too. I think that the idea of "I want you to go a little bit in this direction" came out strongly in "Notte."

Q: Will ICE STORY continue in the future?

A: Yes!

Q: You said in RE_PRAY that "the end is the beginning of the beginning," but do you have any new plans other than Ice Story in the future?

A: I am thinking of various things.  It's difficult to be specific, but entering my third year after spending two years as a professional like this, I’ve realised just how much I was lacking. This second year made me aware of how shallow the things I’ve been taking in so far. Therefore, I want to incorporate a wider range of information and study various things more deeply. I hope to gradually expand and deepen my expertise. I think that will contribute to expressing figure skating in a way that is uniquely me. For example, there are very ballet-like expressions, very dance-like expressions, and very figure-skating-like expressions. Rather than having these exist in a half-hearted way, my goal now is to study properly how to express myself in a way that is in line with the theme.

 

I am not skating alone

Q: Finally, some Q&A that aren't about the show. How do you maintain your motivation after becoming a professional athlete? I guess it is different from competing.

A: I guess it's the expectations that people have of me... Honestly, what is it... I don't really have much time to think that "I really love skating!" After all, practicing skating is tough, and it's also hard to practice without anyone watching. But because people have high expectations of me, I want to live up to their expectations and go beyond them. I guess that's my goal, or motivation. Q: Are there any plans for SharePractice in the future? A: I would like to do it, and I thought about doing it before, but the security issues are really difficult! I really don't want to cause trouble for the rink. Q: How about not doing it live? A: That would be better. But you know, if it's not live, I can't interact with the comments and such, which is a bit sad. It’s SharePractice after all. But I do hope to do it again someday. Q: And speaking of Hanyu-san, you’ve always been very proper at greeting people, but what does greeting mean to you? A: Thank you. After becoming a professional, I have come to think more and more that “I am able to skate because of the support of the people around me”. It's the same for production, ice making, management, promotion, and so on. I really feel that the power of people is involved in many things. I’ve come to realise again that I am not skating alone, and I’ve been reflecting on how much I need to be grateful to the people around me. Q: Also, congratulations on becoming a GUCCI ambassador. I also saw the photo exhibition "In Focus: Yuzuru Hanyu Lensed by Jiro Konami" in Ginza. Have you become more interested in fashion?

A: I don't have much interest in fashion (laughs). I have no intention to wear so-called fashionable things on a daily basis. I'm no Steve Jobs, but I don't usually put much thought into it too. Or rather, it's not like me. It’d be strange if suddenly it's like, "Wow, Hanyu has become really fashionable!" (laughs). Q: Why not take this as an opportunity? (laughs).

A: This year I turn 30, which is a milestone (laughs). But I feel more comfortable in a jersey that allows me to move around freely, I want to feel more athlete-like in that regard. Q: As you just said, this year is a milestone for you, but what is your ideal image of your 30s?

A: When I was a teenager, I used to say, "30 is an old man" (laughs). I remember being scolded by (Miyamoto) Kenji-sensei, like, "30 is not old!" (laughs). When I was a teenager, I had a strong impression that skaters in their late 20s were getting less and less able to jump and losing physical strength. So, I thought that 30 is old in competitive figure skating. But now that I'm learning about different training methods and ways of expression, I'm starting to think, "That’s not so old after all." So, I want to continue to improve my skating, express myself better, and evolve in life. Hehe, I'll do my best in my 30s. Q: Yuzushenko (ゆづ シェンコ) has also grown up. A: Yes! (laughs)

Q: Lastly, please give a message to your fans.

A: From now on as well, nothing will change. I will work hard as always!

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.29

 

Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 92-95

 

Interview: TANAKA KEIJI

The depth of his dedication to his performance is like he's putting his life into it

 

As peers who have spent their second year as professionals, with a common bond, we asked him about his thoughts on skating.
Text by Yumeko Yamamoto 

 

Spoiler

This year, you performed with Yuzuru Hanyu in "Notte Stellata 2024" and "Fantasy on Ice." How was each of them?

-The concept of last year's ‘notte stellata’ (to send out hope to areas affected by the Great East Japan Earthquake) was carried over for the second time. Compared to normal ice shows, the ‘notte stellata’ show is not so much about ‘fun’ as it is a show with a deeper meaning given the time of the year, so in that sense there was a rather solemn atmosphere last year. Although the direction was similar to other shows—aiming for audience to enjoy themselves—I felt that Yuzu's own emotions were a bit heavier. I felt that while skating as a fellow performer, and I was able to approach it with a very focused attitude. This year, the event took place at a slightly different time (March 8th-10th) and not on March 11th, but my own impression was that Yuzu skated with a slightly brighter, more forward-looking feeling compared to last year.

 

Hanyu also said that after last year's performance, he thought about making next year a little brighter. It's impressive that you understood that without even him having to say it.

-Yes, I felt that way.

 

What made you feel that way?

-At the venue, his focus was always the same from practice to the actual show, but maybe it's during the practice and rehearsals. I just felt that way a little.

 

This was your first performance of your program "HOPE." What was the meaning behind the program?

-At first, I wasn't thinking of performing it at "notte stellata," and I had prepared it as an exhibition for this season. However, as the title of the song suggests, it also has the implication that moving towards hope is not something you can do in a straight line, and it expresses the idea that you can only reach your goal after facing pain, setbacks, and obstacles.

 

The choreography was done by Kohei Yoshino, right?

-Yes. Thank you, Kohei-sensei. Last summer, I told him, "I want to skate to this song," and we had many discussions about how to edit and direct it, and then we decided on it.

 

It's a program with a lot of innovative and cool movements.

-It's quite rap-like, so if you capture all the sounds, the movements would be choppy, so we edited it a little bit. Like, put in a different part in between, stop, and then start moving again. Kohei-sensei also researched how to create that kind of image. That's how we choreographed it, matching each other's senses. I think it's interesting to discuss and create together. Kohei-sensei and (Sasahara) Keiichiro-sensei (choreographer for "Run Boy Run" and "The Phantom of the Opera") are about the same generation, so before we start choreographing, we would have a discussion like "What should we do with this?" We would have a long chat (laughs). I think that's how it becomes quite elaborate.

 

 

Both of them are Gundam otaku

So, what did you think of "Fantasy on Ice"?

-Yuzu only performed "Fantasy" in the first half this year in A Tour. "Fantasy" was the same as usual, but this year I was really excited (laughs). I was talking about it with Yuzu and I asked him, "What are you collaborating on?" and he said, "Meteor," and I was like, "Seriously?" (laughs). Yuzu had said that he choreographed it himself, and I thought, "That’s great". We were both talking in a geeky way (laughs). I think it was a song that got him really excited, and that he had a lot of feelings for, so it was well-made and I think that’s what led to that performance.

 

Did you see the performance?

-Yes, I did. We had the same practice time. I was like, "He must really like (Gundam)~" (laughs). I really felt that he loved it and did a lot of research on it.

 

Did you see the costume?

-I know the show too, so I was wondering who it would be based on, then I saw it and thought, "Ah that one?" (laughs).

 

What did you think it would be like?

-I thought maybe it was the main character, but then I thought about it more and decided it was more like Gundam. That was the right answer (laughs).

 

A Mobile Suit Gundam collab is sure to get you excited.

-At first, I wondered what Nishikawa Takanori would be singing as a guest. I had no idea until I arrived at the rehearsal venue. Of course, I knew my own songs, and I also knew who else would be skating with me, and that Yuzu would be collaborating with him, but I wondered what song Yuzu would collaborate on. After all, it's Nishikawa-san, and I figured Yuzu might be a Gundam fan, and he did pick the best part (laughs). I was happy just to hear "Meteor."

 

Did you want to skate to "Meteor" yourself?

-Well, I'd be happy no matter what song came up, but I thought it would be even more fun if Nishikawa-san sang a Gundam song.

 

So, when you were asked to do "BEYOND THE TIME"...

-I was really excited (laughs).

 

Your costume was bright red, so the moment you came out I thought, "That's Char!"

-I tried to go all out (laughs). Kenji Miyamoto, the choreographer, wasn't very familiar with Gundam, so I had to explain it to him, but in the first place, I hadn't seen Char’s Counterattack, so I watched the whole series up to that point. I watched the first one, and then ‘Z’.

 

So, you watched it after you received the song.

-Yes. From the very first Amuro (Ray) to Char’s Counterattack, it took me about half a month to watch all of them (laughs). I’ve probably watched about 100 episodes. After all, the story started with the first Gundam. It was a good series, no doubt. Originally, I had watched the recent Gundam movie “Gundam SEED FREEDOM”. But revisiting the start of Gundam made me realise that this was where it all began. I can see why this is a series that has a lot of fans.

 

What kind of thoughts did you put into the program?

-Is it okay to talk about this first? It's going to be a long story (laughs). I talked too much at the "Fantasy" fan meeting too.

 

Well, I'll ask you about that separately (laughs), but please tell us if you have any stories about your time with Hanyu during the ice show.

-We had the same practice time for "Fantasy," so we spent a lot of time on the ice together, but that also meant that we didn't have much time to talk. But I watched him practice a lot. This time, Yuzu skated to two programs, so I got the impression that he was practicing those two programs and warming up the whole time once the show started.

 

I had the impression of Hanyu always being next to you during rehearsals, but what did you talk about this year? You said that last year you only had casual conversations that didn't stick in your memory.

-Ah, we did talk. But I don't remember it this year either (laughs). I don't recall it... Even though I've been with (Fantasy) for three years, I do look forward to the collaborations with other artists. Watching Yuzu, I can definitely feel the effort he puts into that, and I’m trying to follow his example. I wonder what kind of feelings he has when he performs.

 

 

Embodying the image of a professional

You've both just finished your second year as professionals, but have you noticed any changes in yourself or Hanyu?

-I think Yuzu embodies what it means to be a professional. He's in a place that no one can imitate, and even though we can't imitate him, there are things we need to learn from him. Of course, I can learn a lot from him as a professional skater, and although it may be difficult to get the chance, I think there are things that current skaters can learn from him and things they need to learn from him. So, I hope everyone will watch him.

 

What do you think you have learned from him, and what do you want current skaters to see in him?

-It’s related to both, on how he concentrates on the ice show and how seriously he takes each performance. Of course, everyone takes it seriously. But among them, it’s his level of concentration, and his attitude of using all his nerves and exerting himself mentally to perform. He stays focused throughout the performance, so even when you think he might get tired and unable to move, he still stays focused right to the end. It feels like he's burning his life into it. I want everyone to see how passionate he is about skating.

 

 

Now we’re both focused on skating

Finally, do you have a message for Hanyu here?

-A message in the magazine (laughs). Eh, um... he wasn't on the B Tour this year, so I wish he'd been there? (laughs).

 

Did you miss him?

-I'm only in my third year with Fantasy, but I felt that the atmosphere was different from usual. But rather than feeling lonely... (at the Shizuoka performance) I had the opportunity to go to a hot spring, so I wished we could have gone together (laughs). After all, we were in the same show, and he really showed me the attitude to have as a professional, so as I've always said, I hope that when he can take a break, we can spend time together with the old members.

 

You certainly said that last year as well.

-Yes, I’ve been saying that for a long time (laughs). Now, it feels like we can really face each other properly at the skating stage. It’s also easier to talk when we’re focused on skating in the same space. I’m curious to see what kind of conversations we’ll have when we eventually strip away all of that someday.

 

At the moment, as a professional skater, I’m meeting new artists and having opportunities to speak with various people. I often think that if I weren’t doing this, I wouldn’t have had these encounters. So, I think it will be more enjoyable to have a relaxing chat in the hot spring after we’ve explored this phase a bit more, but now we’re focused on skating, with that awareness, I think there are more suitable things to talk about from that position.  

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.29

 

Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 96-99

 

Interview: YAMAMOTO SOTA

I really admire his passion for the moment

 

This year, they once again performed together on "Fantasy on Ice." What is the secret of the ‘aura’ that Yamamoto felt?
Text by Yumeko Yamamoto

 

Spoiler

How was it to perform in "Fantasy on Ice" for the second time?

-First of all, I was very happy to receive the offer again, and since Hanyu-kun has done many solo shows, for this year's "Fantasy" he was only in the A tour. This time, I also participated in the A tour only, and I was able to learn a lot from him backstage and during the show, so it was really fun and I was very happy to be able to perform with him again. “Fantasy” is an ice show that I really love, and this year, many people came to see it, and the energy in the venue was truly amazing. The cheers when Hanyu-kun was going for the quadruple jump in the opening were incredible! Even before he reached the center position to start the opening choreography, by just entering the rink from backstage, the cheers were so loud it felt like my ears were going to burst. It’s the kind of excitement that you can only experience in "Fantasy", so it was a really special moment, and I think everyone had a great time and enjoyed the show.

 

What did you think of this year's opening and finale?

-The opening is usually a one-trick performance, and the choreography is almost the same each time, but the costumes are unique to "Fantasy". This time, the costumes exposed the shoulders quite a bit, which was quite innovative and fresh. For the finale, we had Nishikawa-san’s 'HIGH PRESSURE,' which began with the men sitting on the Roomba (mobile stage). The choreography effectively used the Roomba and I thought it was a very cool part. "HIGH PRESSURE" was truly a high-energy finale. No matter where you look, every moment was really wonderful.

 

Everyone looked like they were having a lot of fun dancing.

-That's right (laughs). I think it's rare for such a large venue to be filled to capacity, so the time felt really special, and it was an unforgettable experience for me too. I'd like to work hard this season so I can perform there again next year.

 

It was also fun to see Hanyu moving between the skaters in groups while dancing in the finale.

-That's right. The song ended right at the transition part, and I thought it matched the music really well. You could hear the cheers of the audience wherever Hanyu-kun went (laughs). It was a lot of fun, and when he came to our group, he danced like crazy to keep the excitement going (laughs).

 

You were in the same group as Javier Fernandez and the others.

-Yes. During rehearsals we were asked to split into four groups and that was the group I happened to be split into. Tanaka Keiji and the other Japanese skaters were in another group, so I was the only Japanese in my group (laughs). I wasn't sure if I could handle it, but when it was time for the show, everyone danced like crazy, so I think I was able to dance with enthusiasm too.

 

It looked like fun (lol).

-It was fun (lol).

 

Have you seen Hanyu's "Danny Boy" and "Meteor"?

-Yes, of course. First of all, the costumes for both "Danny Boy" and "Meteor" were really cool. I thought the costume for "Meteor" was really striking and glittering, very Gundam-like, and "Danny Boy" is a song that envelops you in a sense of tranquillity with just the sound of the piano, which he conveyed through the expression in his fingertips, jumps, spins, steps, and other elements. In the silence, you could hear the sound of edges and the sound of the ice being scraped, which was very refreshing. It was a program where you could even enjoy such details. There were moments when the track stopped, and you wouldn’t usually hear these sounds during the song, so being able to clearly hear the edge sound was something new and I thought it was really great.

 

You're not from the Gundam generation, are you?

-I'm not from that generation, but I've seen pictures on social media comparing the costume to the video clip, and I thought they looked really similar. I thought the costume looked really cool on its own, and it was amazing that someone could pull it off.

 

Apparently, it was self-choreographed.

-Ehh! Amazing! "Meteor" also has some mechanical-like movements... I'm sorry, I don’t know much about Gundam, but there were machine-like movements scattered throughout the beginning, and I thought the patterns of those movements were really beautiful. They matched well with Nishikawa-san's vocals, and I thought it was great how every part fitted the music perfectly. He did a triple axel at the end, and his jumps were also sharper, which was cool.

 

 

Every time, I feel the greatness of seeing it live

After watching it, is there anything that you would like to incorporate into your performance?

-I would like to incorporate it, but it's difficult at my current level (laughs). When I see him up close, I think, "Wow, he's really amazing." I mean, his greatness, his aura. I think I still have a long way to go to be able to show that kind of thing, and when I look back at my performances, whether it's exhibition programs or competitive programs, there are a lot of things I want to do better. First of all, I hope to hone myself and then, if there are elements I can incorporate, that would be great. Even in jumps, I'm not so good with the Axel, but when I see him jump the Axel at the end, I think I have to work harder. And the precision of his expression... I think that he can express himself skillfully in beautiful songs, and I think that kind of breathtaking expressiveness is unique to only Hanyu. It's true when I watch it on video, but I especially feel its greatness when I see it live at the venue every time. I would like to learn from him how to create an aura or atmosphere, his expressive ability, and his precise footwork, and I would like to be able to incorporate these things into my own competitive programs.

 

Where do you think that aura comes from?

-He’s serious about the moment. The passion he has for every moment is incredible. In the opening of Fantasy, everyone performs one trick at the start, and towards the end, Hanyu-kun jumps a quadruple toe loop. To his fans, Hanyu-kun’s quad toe loop might seem like just another jump (since he also performs other quads like the Salchow and Loop), but performing a 4T right after coming onto the ice and in the midst of deafening cheers must be incredibly challenging. What’s even more impressive was seeing him making the final adjustments in the backstage right up until the opening begins. Witnessing him manage all these aspects up close, I strongly feel the weight he is carrying and the immense pressure he faces. Despite this, his ability to always give 120% is truly admirable, and I want to learn from him. I think that such qualities naturally emanate as his aura.

 

Did you have a chance to chat with Hanyu this year?

-Well, during the actual show, everyone was focused on their own performances, but we had a chance to talk a little after it was over and at dinner hall. Apparently, Hanyu-kun does a lot of training, and he told me that there’s a sauna at the gym. He brought up this topic because I was there (laughs). I asked him, "Really? I'd like to go too. Do you use the sauna, Hanyu-kun?" and he said, "I'm not really keen" (laughs). Apparently, in the past, Tsuzuki (Shoichiro)-sensei would take him to the bath or sauna, but he said, "I'm not good with it." We had that kind of conversation, and I don't know what else. We were just talking about really trivial things. Last year we talked about skating quite a bit, but this year it was this kind of talk.

 

 

I would like to talk to you again if I have the opportunity.

What did you think of your own program, Yamamoto? This was the first time you did a collaboration this year.

-Well, last year I did two individual programs, but this year I finally got to do my long-awaited collaboration number. "Ich bin ich bin Musik" was the song that was sent to me by the organizers, and I felt that they prepared a program that suited each skater. My song was also very easy to express, and I think it was a musical program that allowed me to really express my emotions alongside Shirota Yu's vocals.

 

It was a really wonderful program that it's a shame it can only be seen on Fantasy.

-I'd like to perform it in various places too. I heard from Keiji-kun and (Miyamoto) Kenji-sensei that "if I get permission, I can use it." If there's an opportunity, I'd like to perform it again someday.

 

And how was your solo "Beat It"? There was a lot of cheering.

-Um, on the short side, like this...

 

The part where (the chest area of the costume) was exposed too much, right.

-Ahaha, right (laughs). There was a choreography that exposed the part a little, but I was happy to see everyone’s reaction to it, and this time there was a live broadcast and live viewing, so there was a camera (for broadcasting) there (laughs). The cameras were positioned to match the audience's viewpoint on screen, but in fact they were quite low down. So, during the live broadcast, I made an effort to appeal to those cameras as well. People who watched said things like 'It felt like we made eye contact,' and it was fun for me too.

 

What did you gain from this year's "Fantasy"?

-After all, ice shows are entertainment that is different from competitions, and although I am still an athlete, I want people to enjoy such events as entertainment. There are many different ice shows, and I want to do my best as a member of each show. I was able to learn a lot from Hanyu-kun and the other skaters at "Fantasy" about various expressions, how to engage the audience, and how to liven up the atmosphere, and I also realised the importance of being aware of the audience in different areas, like the upper sections of the venue or at live viewings. I am learning more and more every year about how to express myself and liven up the show so that people can enjoy themselves.

 

Please give a message to Hanyu-san.

-I've always been shy, and since it’s an ice show, it's hard for me to find the courage or timing to speak to you directly, but this time I'm going to excuse myself (laughs). I really wish to communicate and talk to you more, and I was really happy to be able to work with you again in this year's "Fantasy", and although it was a really trivial conversation, I was really happy to be able to talk to you. If I'm invited back to "Fantasy" next year, or if we have the opportunity to work together somewhere, I hope we can have lots of fun conversations about trivial things, saunas, about myself, and skating. If there's another ice show this year, I'd like to go see it if I get the chance, so I look forward to seeing you then. Do your best! I look forward to working with you again!

 

And please give a message to your fans.

-I was able to appear in "Fantasy" again this season, and I was able to learn a lot about how to express myself to the audience, how to direct my gaze, facial expressions, and so on. I hope that the expressions conveyed in “Fantasy” will be reflected in my competitive programs as well. I will continue to give my all this season to create such moments again, so I would be happy if you would support me. I will do my best this season as well. Thank you very much!

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.29

 

Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 48-49

 

The Underlying Thoughtfulness in Yuzuru Hanyu's Expression, His Empathy Toward Others 

By photographer: Toru Yaguchi

 

Spoiler

I wanted to capture his eyes peeking through his fingers as he placed both hands on his face. When I conveyed my intent for the shoot, Yuzuru slightly tilted his head two or three times. Dressed in a mint-green dress shirt, he began moving to the music he had selected. For several seconds, he kept his arms down and didn't strike the pose I had requested. "Did I not explain it well enough?" I wondered to myself, but soon realized that wasn't the case. As I waited for the right moment while taking photos, Yuzuru's hands slowly moved toward his face, as though it were part of his choreography. The pose and expression were slightly different from what I had imagined, but it was Yuzuru's interpretation that had shaped them. With a sense of surprise at the unexpected, I felt a rush of joy. Even without checking the images, I knew a powerful photo had been born.

 

I believe that Yuzuru values not just surface beauty but the flow of emotions and movements of his body that lead him to a particular pose. For him, it is surely a process of putting his heart into his expression. This process is something that can't be captured in a single moment of photography. However, the final expression he creates carries warmth. The way he opens his eyes, bends his fingers, or tilts his neck-these subtleties convey the underlying emotions. That's why the feelings behind his expressions come through in his portraits.

 

Yuzuru carefully considers the photographer's intent, reflects on it, and then expresses it through his own body. At the core of this meticulous process is his kindness and thoughtfulness toward others. It's because of his empathy and gentleness that he can choose the best way to express himself while considering how others will perceive it. Without technique, this cannot be conveyed. But technique alone is also not enough.

 

The shoot ended more than 20 minutes past our scheduled time. The sun, nearing the summer solstice, had softened its glow as it began to lose its intensity. Feeling both apologetic and deeply grateful for Yuzuru's full commitment, I bowed my head to him. When I looked up, Yuzuru was still bowing, his right hand placed over his chest.

 

Two years have passed since Yuzuru transitioned to being a professional skater, and I feel that his empathy toward others has only deepened. Perhaps this has been nurtured through his encounters with various creators and staff in the process of bringing works to life, through both painful and joyful times during his new challenges. I found myself wanting more people to know Yuzuru's current figure skating, his words, and his expression. The strength and warmth that Yuzuru possesses now are even greater than before he began walking this new path.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

 2024.08.29

 

Translations by Pep: https://x.com/pep_on_
Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 117-120

Info: https://x.com/fskating_Life/status/1828953371572846812

 

 

Interview: MAO DAICHI

The way he skates is really special "The one chosen by the Gods"

 

We asked Mao Daichi, who co-starred in "Carmina Burana" for "notte stellata", about the story behind their first collaboration.

 

Spoiler

Interviewer: "Firstly, what were your thoughts when you were approached about the ice show?"

Daichi Mao: "I wondered how I could collaborate when I can't skate at all (laughs). It was something completely outside of my previous stage and acting experience, so I was surprised and a bit confused. But then I thought, 'This might actually be interesting.""

 

Interviewer: "In the collaboration number, you played the Goddess of Fate to the majestic music of 'Carmina Burana.' What kind of image came to your mind when you first heard about it?"

Daichi Mao: "First of all, since I was going to be part of this, I thought that a quick costume change could be one element to include. I wanted to surprise and entertain the audience by changing my costume in the blink of an eye, so I proposed transforming from a black-themed goddess to a white-themed one."

 

Interviewer: "So, the idea for the costume change came from you. It was quite surprising when the costume suddenly changed."

Daichi Mao: "Yes, I think it took less than four seconds (laughs). The costume was designed with all the tricks, and the ensemble members helped me coordinate the quick change. The black costume symbolized intimidation and turmoil, while the white costume, in my mind, represented the goddess that the young man played by Yuzuru Hanyu sees as he moves forward."

 

Interviewer: "The beauty of it was otherworldly and mesmerizing."

Daichi Mao: "Oh, thank you so much. The hair, makeup, costumes, and choreography were all created by highly skilled staff who understood my difficult demands. The quick change was a result of careful planning with the ensemble members, where we synchronized our movements perfectly."

Interviewer: "I understand that each of your performance parts was prepared in advance, and you only practiced with Hanyu-san just before the performance. You rehearsed remotely, but actually working together happened only two days before the show. "How was it when you first practiced together?"

Daichi Mao: "The space was so vast that I was quite surprised, thinking, 'Wow, really?' Since the stage was on the ice rink, it was very cold, and Hanyu-san felt far away. But watching him skate was truly special-I was in awe, thinking he must have been chosen by the gods."

 

Interviewer: "You mentioned that during the performance, you felt a connection with Hanyu-san multiple times. Was there a kind of resonance between you as fellow performers?"

Daichi Mao: "Yes, although there was physical distance between us, I definitely felt those moments many times during the performance. As fellow performers, it was as if I could actually see a thread connecting us for a split second. The air itself felt connected, and it was as if time momentarily stopped. That happened several times. Although we decided our movements based on counts, since it's classical music, it's not strictly 1, 2, 3, 4, 2, 2, 3, 4. The way you feel and interpret the music depends on each person's sense. When Hanyu-san had his back turned, I tried to adjust to him as much as possible, but when I tried to match him, I ended up being late (laughs). So it really came down to breathing together."

"Challenging the Impossible"

Interviewer: "How did you perceive Yuzuru Hanyu as an 'artist' after performing alongside him?"

Daichi Mao: "He truly possesses remarkable talent as a performer, doesn't he? He kept evolving, especially in terms of 'acting.' Of course, he has always expressed himself on the ice, but this time, it felt like he came closer to my realm. I think he challenged himself with things that might be considered difficult on the ice, performing in a way that's closer to stage acting."

 

Interviewer: "Did your impression of him change before and after meeting him?"

Daichi Mao: "When we first met, he seemed very humble and nervous, but once we started discussing the content, he became incredibly passionate. I realized he's not the type to hold back; instead, he's someone who pushes forward with great intensity. Given the vastness of the skating rink, I imagine there are physical and logistical challenges, like the time it takes to prepare or to gain momentum, but he worked hard to overcome those obstacles."

 

Interviewer: "When you were encouraged to suggest "things that seemed impossible", did you make any specific requests or suggestions?"

Daichi Mao: "Yes, he told me, 'Please, just say everything you think is impossible' (laughs). One thing I requested was for him to come onto the stage at the end. I knew that walking on a regular stage could damage the edges of his skate blades, and that it's generally difficult to walk normally in skate shoes, but Hanyu-san still came onto the stage. That moment was incredibly moving."

 

Interviewer: "So, it was your idea for him to come onto the stage at the end?"

Daichi Mao: "Yes, exactly. In that scene, I transform into a white goddess, guiding the young man, who then confronts his fate. There are stairs involved, and the timing with the music is crucial. I thought it might be a bit of an unreasonable request, but not being familiar with the intricacies of skate shoes was my advantage (laughs), so I asked him anyway. The way the wind blew softly, and the way the lighting was all set up everything came together in such a beautiful way."

 

Interviewer: "Do you have any other backstage stories you could share with us?"

Daichi Mao: "Before the performance started, he was very focused, but afterward, he greeted us with such a warm and friendly face, saying, 'Good job, everyone!' I think everyone feels the same way before a performance; in a sense, it's like a competition. There's a unique tension that comes with being a professional before a show, and I felt that very strongly."

 

Interviewer: "Do you yourself feel very nervous before the first performance of a show?"

Daichi Mao: "Of course, I get nervous, but I try to keep things as normal as possible. The fact that I'm consciously trying to stay calm is a sign that I'm nervous, though (laughs)."

 

Interviewer: "Is that mindset the same for other stage performances as well?"

Daichi Mao: "Yes, especially before the first performance of a show. But this time was different because it was such a unique experience. I didn't know much about ice shows, so I wanted to enjoy the process as much as possible. I also wanted to contribute to Hanyu-san's performance in any way I could, and I saw my role as expressing this unusual collaboration in a fresh way."

 

An unforgettable work

Interviewer: "Your solo performance in the show was a divine medley of 'Luck Be A Lady' and 'Anything Goes.' Could you tell us the intention behind your song choices?"

Daichi Mao: "First of all, I wanted to offer the audience a medley that allowed them to enjoy both a masculine and a coquettish feel within the limited time we had. I also spent a lot of time thinking about how I could manage the very quick costume changes. While it's common to wear pants under a skirt, it's not often that you have a skirt under your pants (laughs). Considering things like that, we actually ended up changing faster than expected, so I sometimes made my entrance earlier than planned (laughs). Above all, I just wanted to give the audience that 'Wow!' and 'What just happened?' feeling."

 

Interviewer: "I was so thrilled to see you as Sky Masterson (in 'Luck Be A Lady'), and the audience clearly shared that excitement when you appeared. I'm sure your fans were delighted."

Daichi Mao: "Everyone gave such warm applause and cheers, and that made me really happy. Last year, I celebrated my 50th anniversary since my debut with a concert, and I chose songs from that concert, which I rearranged specifically for 'notte stellata.' I also changed my costumes and hairstyle, and I think that was something the audience appreciated as well."

 

Interviewer: "Your performance of 'Anything Goes' was so charming and glamorous. The way you seamlessly switched between a male role and a female role was impressive. It seems like that might be difficult, but you made it look effortless."

Daichi Mao: "Oh no, thank you (laughs). It is challenging, of course. The keys of the songs are different, so during the quick change, I have to switch my voice as well. By offering the audience a broad range of expressions, I hope they can enjoy and feel satisfied within the short time we have. Although I could take it easier and not push myself so hard, I somehow end up tightening the noose around my own neck (laughs). But it's because I really want to entertain the audience and make them happy, so I take on those challenges."

 

Interviewer: "It seems like you share that drive with Yuzuru Hanyu."

Daichi Mao: "Yes, I felt that too. It's not just about doing something or getting through it; it's about how you create it. In that sense, and I say this with all humility, I felt we were similar."

 

Interviewer: "Did your impression of ice shows change after participating in one?"

Daichi Mao: "At first, I was unsure about how it would turn out, but in the end, I'm genuinely glad I took on the challenge. It's a completely different world, yet I found some common ground. I also felt that the ambition and the spirit we aim for might be the same in some way. An opportunity like this doesn't come often, so 'notte stellata' became an unforgettable experience for me."

 

Interviewer: "Finally, do you have any message for your fans or for the skating fans?"

Daichi Mao: "Through this collaboration, I received a lot of feedback from Hanyu-san's fans who don't usually watch stage performances. My fans also expressed that they were interested in going to see figure skating, so I'm very grateful for this opportunity to collaborate. I hope that, beyond Hanyu-san's skating, this will encourage people to also watch my future stage and film works. I, too, treasure this connection and will continue to support Hanyu-san."

 

 

"Experiencing Yuzuru Hanyu's New Creation "RE_PRAY" as a "Player"

By Fumofumo Column (pg 105-111)

 

Fumofumo Editor-in-Chief (https://x.com/fumofumocolumn/status/1830380364579422228)
Sports blogger and columnist. I engage in various support activities filled with love for sports every day through my blog "Sports Watching and Telling - Fumofumo Column."

 

Spoiler

After thrilling audiences across four cities with eight performances, Yuzuru Hanyu's third solo show, Yuzuru Hanyu ICE STORY 2nd "RE_PRAY" TOUR, reached its grand finale amidst great excitement and fanfare. Since turning professional, Hanyu has continuously broken new ground, with endeavours like his solo performances, hosting an ice show at Tokyo Dome, and integrating advanced technology such as projection mapping into figure skating. The "RE_PRAY" tour is yet another demonstration of his evolution as both a performer and producer. This show wasn't just a novel experience as an ice show; it was a daring undertaking even by the standards of various stage performances.

 

The most striking aspect of this show was that it wasn't merely something for the audience to "watch." The entire performance was designed as a "game," with the audience positioned to "experience the story as players." When we think of video games, the defining feature that sets them apart from other forms of entertainment is that the "player" themselves becomes the protagonist, experiencing the story firsthand. The audience of "RE_PRAY" indeed took on the role of "players," experiencing the narrative of the show as if they were in a game.

 

 

A "Game Experience" Where the Audience Chooses and Decides the Outcome

"RE_PRAY" begins with a large monitor in the venue displaying a frame that mimics a video game screen, along with a title screen for the game. Soon, Hanyu appears on the large screen holding a controller, and he selects "PLAY" and chooses one of the saved game data files. The save data corresponds to the date of that specific performance (for example, the February 15, 2024 performance would display as "20XX/02/15"), reinforcing to the audience that this is something happening "now." From there, Hanyu plays the role of both the "player" and the "character" within the game, unfolding the story of the "player playing the game," with the audience experiencing the story by projecting themselves as the "player."

 

Hanyu himself emphasized the "audience as player" concept, offering insights after the inaugural performance in Saitama with statements like, "You are the players. You are the gods," and "Each one of you is a player." Moreover, in the official guidebook released after the tour, he addressed the audience with messages like, "To all players, thank you for playing until the end" and "Congratulations on completing the game!" These messages thoroughly established the notion that the "audience = player." The opening performance, with its display of a game-like screen and title, was meant to signify that the audience was about to embark on this game as players.

 

The point where the concept of "audience = player" became particularly clear was during the "Trolley Problem" segment in the first half of the show. Here, the audience was faced with a dilemma that forced them to choose between two difficult options, and Hanyu called out, "Will you press the switch?" The rink alternately displayed "YES" and "NO" choices, and the large screen showed the audience in the stands. The approximately 20 seconds of "thinking time" gave the audience a palpable sense of hesitation and uncertainty: "Will the show not progress until we make a choice? Should we clap or raise our hands?" The results of the audience's choice determined the next performance-if "YES" was selected, "Hope & Legacy" was performed; if "NO" was chosen, "Ashura-chan" was performed, with the subsequent visual elements diverging in completely different directions depending on the choice.

 

In reality, the YES or NO route was pre-determined by the date of the performance, irrespective of the audience's reactions. However, encountering this uncertainty and surprise without prior knowledge was undoubtedly a "game experience." It was the moment when the audience realized that "RE_PRAY" was not just something to watch passively, but a game to be experienced and chosen by themselves.

 

 

Game-Like Elements Packed into the Performance and the New Game "RE_PRAY"

Throughout the performance, Hanyu incorporated numerous game-like elements into "RE_PRAY." The entire show was structured in two parts: "the first part depicting the playthrough until the game is cleared" and "the second part, where the same game is replayed after the save data is corrupted, forcing a new challenge." The opening scenes and performances in both parts shared common elements, yet by altering the play style, the progression changed midway, giving the audience a sense of replaying the same game. The storyline used original retro-game-style visuals to depict gameplay, including battles between "8-bit Yuzuru" (a pixelated version of Hanyu in his iconic costumes) and giant bosses.

 

Many of the programs themselves were inspired by games. The opening numbers for both parts, "A Dream That Will End One Day" and "A Dream That Will End One Day; RE," were set to music from Final Fantasy X. Towards the end of the first part, Hanyu performed "MEGALOVANIA" from UNDERTALE, leading into a climactic sequence that included multiple game music pieces, such as "You're Not Alone" from Final Fantasy IX and "Envoy to Destruction" from Final Fantasy VI, culminating in a six-minute skating session. The ending movie of the show also featured a medley of music from the game Lufia II (Estpolis Denki II).

 

These elements were not just about using the music but were filled with respect and homage to the original works. For example, in the performance "A Dream That Will End One Day" and "A Dream That Will End One Day; RE," Hanyu's costume was reminiscent of the summoner Yuna from the game Final Fantasy X. The dance he performed invoked the image of the "Sending," a ritual in the game that sends the souls of the dead to the afterlife. The projection mapping used during the performance depicted "pyreflies," luminous beings considered to be life energy (souls) in the game, as well as visuals reminiscent of the "Lifestream," a concept representing the cycle of life in the Final Fantasy universe.

 

In "MEGALOVANIA," Hanyu wore a costume adorned with a skeleton, mimicking the character Sans, a formidable opponent from the game UNDERTALE. Just as the battle with Sans in the game begins in silence, Hanyu's performance also started with only the sound of his skates resonating in the venue. This was followed by various effects: the teleportation ability of Sans, represented by Hanyu appearing on various small screens around the venue; visual effects of bones falling on the screen, mimicking Sans's attacks; and choreography that expressed Sans's relentless attacks from all directions through Hanyu's spins. These elements were so faithful to the game that those familiar with UNDERTALE praised the performance as a perfect recreation of the Sans battle. During the final performance of the tour in Miyagi, Hanyu, embodying Sans even more intensely, delivered an even more grotesque expression and a throat-slitting gesture, saying, "Since it's the last time, I'll give it my all."

 

In "Envoy to Destruction," Hanyu wore a red beast-like costume, modeled after Trance Kuja, a powerful enemy from Final Fantasy IX. Those who know the original game would immediately recognize that Hanyu was portraying Trance Kuja, not just from the music but also from the costume. The choreography included movements mimicking Ultima, the ultimate spell used by Trance Kuja when he finally accepts his impending death, making this homage truly meticulous in its dedication.

 

In the ending, the performance showed Hanyu skating while wearing the costumes from the various programs of the first half of the show. As each program (character) completed its role, it transformed into a ball of light, accompanying the subsequent performances. This imagery overlapped with the ending of the game Lufia II, where the souls of the protagonist Maxim and his beloved Selan turn into orbs of light and traverse the world that has regained peace.

 

These programs and performances were not merely acted out as homages. Rather, it seems that Hanyu carefully reconstructed them into a new "game" while cherishing the influence these works had on him and aligning them with the thoughts he wanted to convey in this show. In a message shared before the show, Hanyu expressed, "Life is a one-time experience; games can be played repeatedly. I believe there are many important things to be found in these two seemingly contradictory concepts." After the first performance in Saitama, he offered some interpretative hints, saying, "In the relentless flow of everyday life, as we calmly go about things in the same way, I want you to think deeply about the small choices you make, little by little," and "And I hope you will ponder, even if just vaguely, the idea of life cycling and returning-that's what 'RE_PRAY' is about."

 

In this new work "RE_PRAY," viewed through the lens of the games that influenced Hanyu, there is a pervasive theme of reflection on the nature of life.

 

The game Final Fantasy X tells the story of the summoner Yuna, who sacrifices her own life to save the world, and the protagonist Tidus, who is destined to disappear once their mission is accomplished. In UNDERTALE, the player can choose multiple paths: by continually defeating monsters, they follow the "Genocide Route" and eventually face Sans as an enemy; conversely, if they progress without defeating any monsters, they follow the "Pacifist Route," where they return to the human world with the monsters. In Final Fantasy IX, the villain Kuja, driven to destroy the world along with himself due to his despair of imminent death, is ultimately freed from his despair after losing everything in a battle against the protagonists, and finally, he saves them, saying, "I think I finally understood what it means to live." In Lufia II, the first game in the series, the player relives the adventure of "past heroes who sacrificed their lives to save the world" from 99 years ago, experiencing it firsthand as one of those heroes.

 

Each of these original stories, with their portrayals of life, death, and the choices of the characters, converged into "RE_PRAY," which encapsulates the concept of "a journey where something must inevitably be lost along the way." The "Player" (i.e., the audience) faces this choice. After clearing Part 1 and replaying Part 2, they navigate toward a new path. Through these stages, "RE_PRAY" allows the "Player" to repeatedly experience "life and death," a process that can be experienced differently with each choice, because it is, after all, a game. In this sense, "RE_PRAY" is a new game that was born by drawing influence from many preceding works. It possesses a consistent theme of "how to live a finite life," a theme that the "Player" (the audience) can experience.

 

In the final moments of the second part of the performance, where the story of "RE_PRAY" reaches its culmination, the command on the game's screen changes from "PLAY" in Part 1, to "RE_PLAY" in Part 2, and finally to "RE_PRAY." Accompanied by a narration that says, "Keep praying, even if it eventually ends," "As long as you don't truly choose to stop, it will continue," and "No matter what future awaits, live with determination," the performance ends with a call to keep praying so that hope, dreams, and life may continue to be connected.

This conclusion, in which the "Player" has arrived by experiencing various forms of life, death, and ways of living, felt as though it was telling the audience, "From here on, this is your story." This ending itself felt very much like something out of a game. Although it wasn't directly featured in this performance, one of the game series Hanyu loves and which influenced UNDERTALE is the MOTHER series, specifically its second installment, EarthBound, where during the final battle with Giygas, the command "pray" becomes the decisive factor for victory. When the "pray" command is used during the Giygas battle, it sends the player's thoughts to the people they met along their journey, and the collective prayers of those people weaken Giygas. When the prayer reaches the "Player" of the game, it is the "Player's" own prayer that delivers the final blow to defeat Giygas. The scene where the screen goes dark, displaying only the message "ooo (the player's name) prayed continuously," was a uniquely game-like way of incorporating the player's reflection in the monitor as one of the characters. Similarly, the act of praying in "RE_PRAY" also seems to involve the "Player" (audience) in a way that is characteristic of a game. It feels like the creators are hoping that through the audience's own prayers-wishing for hope, dreams, and life to continue-some spark may be lit in their lives, allowing them to overcome difficult battles.

 

Depending on how you look at it, "RE_PRAY" could be seen as a biography tracing someone's life, or it could be a standalone narrative like a movie or a play. But its essence is still a "game," one that is only complete with the existence of the "audience/players." The story of "RE_PRAY" is only fully realized when we consider how the players (audience) are influenced by this work, how they interpret it, and what choices they will make in their lives moving forward.

 

The memories of traveling to each city to follow "RE_PRAY" over the past six months have become a cherished "experience" that I hope to carry forward into my life. It was a truly unforgettable "adventure" in every sense of the word. As is customary with games, I hope there will be a "remake" someday. By that time, I hope I will have made some progress in my own life and will have developed new interpretations and new choices. I will continue to pray for the release of a remake so that I may someday replay "RE_PRAY."

 

 

[yuzurujenn]

 

 2024.08.29

 

 

Translations by Pep: https://x.com/pep_on_
Source: Figure Skating Life Extra "PROFESSIONAL Season 2, pg 124-128

Info: https://x.com/fskating_Life/status/1828953371572846812

 

 

The World of "Sekkisei Miyabi" & Yuzuru Hanyu's Beauty

 

Yuzuru Hanyu is the global muse of KOSE's "Sekkisei Miyabi." With both Hanyu and the brand relentlessly pursuing beauty towards their ideal, a new advertisement has been created. Enjoy the profound and mystical worldview they present.

 

Spoiler

Behind the Scenes of the "Wakatake no Kimi" Visual Production
KOSE's "Sekkisei Miyabi" features the "Moisture Protect Serum." We interviewed the visual concept and production team behind the stunning advertisement, also known as "Wakatake no Kimi" (Young Bamboo Prince), to uncover the concept, shooting episodes, and public reaction.

 

Yuzuru Hanyu, who serves as the global muse for KOSE's highest-end line, "Sekkisei Miyabi," was chosen for a reason. Saori Yanagihara of KOSE's Green Brand Division explains:

 

"We selected Hanyu as the global muse for the "Sekkisei Miyabi" line, the top tier of the Sekkisei brand, because of the series' concept: 'No compromise. Transparency, redefined,' which resonates with Hanyu's uncompromising approach to figure skating and his strong spirit. Additionally, since 'Sekkisei Miyabi' is being actively promoted overseas, we wanted someone like Hanyu, who is not only immensely popular in Japan but also highly admired internationally, to represent us as the global muse." (Yanagihara)

 

Today, concepts like "diversity" and "genderless" are becoming more mainstream, but when Hanyu, a male athlete, was first used in a cosmetic brand advertisement, it created a significant reaction.

 

"At that time, there was a strong association between cosmetics and women, and few cosmetic brands would feature a man in their advertisements. However, in recent years, our company has promoted the '3G' concept to attract new customers. '3G' stands for Global, Gender, and Generation, meaning that we aim to create products that cater to a wide range of customers, regardless of gender or age. We believe Hanyu perfectly embodies this concept, helping us convey that we want our products to be loved by as many people as possible, men and women alike, all over the world." 

"When we released the key visual of Hanyu for the 'Sekkisei Miyabi' Moisture Protect Serum, we received many reactions on social media like, 'It's okay for men to use this too?' Thanks to Hanyu, we feel that more people have come to resonate with our 3G philosophy," (Yanagihara explains). Hanyu shines not only on the ice but also on the advertising stage.

 

We asked Mayumi Takeuchi and Shihoko Yonehara from the PR department, who have been on set many times during Hanyu's shoots, about their impressions.

 

"Hanyu already has beautiful skin, but when you see him in person, his inner radiance combines with his outer beauty, creating a truly exceptional appearance. During the photoshoots, every detail, right down to his fingertips, is carefully thought out, and each pose is artistic. Not only does he respond to our requests to improve the shots, but he also suggests, 'How about showing it this way?' When we ask him to move freely during the shoot, he jumps and spins dynamically, almost as if we were on an ice rink, surprising us with his imaginative movements," (Yonehara).

 

"Even during the photoshoots, Hanyu always treats it like a serious competition, constantly challenging himself to express more, wondering, 'How far can I show myself?' He truly is a performer. After each shot, he asks, 'Is this okay? How did it look?' and then applies our feedback to his next move. Every time, we are left in awe, with goosebumps from the emotional impact he delivers." (Takeuchi)

 

The Visual Production Behind "Wakatake no Kimi”
When "Sekkisei Miyabi Moisture Protect Serum" was released in 2023, the key visual of Hanyu, wearing a somewhat Japanese-style outfit and exuding a seductive aura, became a hot topic.

 

Nicknamed "Young Bamboo Prince," his photos and costumes have been exhibited in various locations, drawing large crowds to the area, and this elegant nickname was apparently born from among his fans. "This product [the serum] contains kumazasa (*1) extract in addition to the main ingredients in the Sekkisei skincare series, such as Job's Tears and Angelica Root (*2), so we developed a product design with a bamboo motif. The advertisement began with the idea of what would happen if a modern-day Hanyu were to portray Princess Kaguya (*3), who is associated with bamboo, and it was an unexpected delight to be given the wonderful nickname "Young Bamboo Prince." (Yonehara)

 

We were given a special look at the design drawings this time. (See page 126) (*4)

 

"We integrated the image of Japanese culture that 'Sekkisei Miyabi' represents, along with the concept of portraying Princess Kaguya in a modern way, to create a design that has a modern touch within its traditional Japanese roots," (Yonehara)

 

"When collaborating with costume designer Mr. Sawadaishi, we brainstormed ideas like, 'How would Yuzuru look in this costume? How would he move while wearing it?' Hanyu is not only beautiful but also embodies both strength and beauty. So, with a focus on contrast, we aimed for a costume that reflected elements like the bravery of a young warrior mixed with elegance, fierceness paired with grace, and strength coupled with kindness. I believe the final design was one that Hanyu was pleased with," (Ms. Takeuchi)

 

"I clearly remember photographer Mr. Uroku continuously pressing the shutter, trying not to miss a single expression from Yuzuru. Hanyu knows exactly how to move in a way that shows off the costume beautifully, and he made the long sleeves flow like a kimono's as he demonstrated various movements. During the fitting session, he even gave input when asked how tight or loose the chest area should be, saying, 'I think this feels just right.' He also said, 'If it gets out of place while moving, I'll fix it right away,' demonstrating his deep knowledge of costumes," (Ms. Yonehara)

 

"For hair and makeup, we worked with Hiro Odagiri to create a visual image that was fitting for the concept. I think we were able to showcase a new side of Yuzuru that fans hadn't seen before," (Ms. Takeuchi)

 

In October 2023, when this costume was first displayed at Ginza Mitsukoshi, the reaction was overwhelming.

 

"From the very first day, there were so many people lining up that we had to distribute tickets just to handle the crowd. We later displayed the costume at several other locations, and the response was so great that we held another exhibition at Hanshin Department Store in Osaka in July (concluded on July 9). 'Sekkisei Miyabi' is only available in limited stores, but thanks to this exhibition, many people visited our stores for the first time. I believe many people discovered the appeal of 'Sekkisei Miyabi' thanks to Yuzuru Hanyu.

 

Additionally, to celebrate the first anniversary of the 'Moisture Protect Serum,' we created a special bamboo-themed space at Maison KOSE Ginza, where we displayed photo panels and Hanyu's autographed skating boots. We also set up a course where visitors could experience the same makeup as Hanyu in the key visual, and it was extremely popular. Many people came to the store specifically for this experience, and it gave them the opportunity to try other products besides the 'Moisture Protect Serum.' This was a great success for us," (Ms. Yanagihara)

 

Currently, the "Moisture Protect Serum" campaign features a new visual of Hanyu in a fresh, white shirt, replacing the "Wakatake no Kimi" visual.

 

"This time, we focused on transparency, so we chose a white outfit. While it may look simple with only one color, the detailed design includes frills and beads. It gives off a clean yet fresh image," (Ms. Yanagihara)

 

Due to the immense popularity of last year's campaign, which gave away an original acrylic keychain of Yuzuru Hanyu to customers who purchased the "Moisture Protect Serum," the campaign was repeated this year. Last year's keychain featured Hanyu in his "Wakatake no Kimi" costume with a graceful pose and expression, but this time, he is seen in a white outfit with a bright smile and a thumbs-up gesture, which has also been a hit.

 

"Hanyu's expressions are truly diverse. While we mentioned duality earlier, in reality, he has three or even four sides to him, which makes him incredibly captivating. Even for the same product, his expressions completely change based on the concept. It's clear that he carefully considers, 'How should I present myself today?' It's fascinating to watch," (Ms. Takeuchi)

 

Graceful Moments that Touch the Heart
KOSE also offers a special audio content series called "A Graceful Moment" featuring Hanyu's voice. The first season began in 2021, and the series has now reached the 16th episode of its third season.

 

"We release the content at night so that people can listen to it while relaxing, perhaps during their skincare routine. That's why we refer to each episode as the 'first night,' 'second night,' and so on, rather than calling them 'episodes.' Each ‘night' has a theme, and Hanyu speaks about it in his own words. Instead of providing a script, we would ask questions like, 'The theme for this time is flexibility and balance; have you had such experiences in your life?' and he would reflect on his experiences and speak honestly about them," (Ms. Yanagihara)

 

His narration is done in a relaxed tempo, with a slightly low tone that is gentle and soothing to the heart. Even regarding his speech style, it's all up to Hanyu. "He has such a pleasant voice, and the way he weaves his words together is so beautiful. We haven't requested anything in particular regarding his speaking style. He's naturally a good speaker, so we let him go at his own pace. He doesn't use a script, but speaks directly from his heart, which has been very well received, and we've gotten feedback like, 'I'm glad I got to see a new side of Hanyu' and 'It was great to hear the real Hanyu," (Ms. Yanagihara)

 

The visual for "A Graceful Moment," where Hanyu sports a refined hairstyle with his forehead showing, portrays him in a suit, with a somewhat melancholic expression that's simply stunning. "We always conduct the voice recording and visual photoshoot on the same day. The blue suit he wears in the third season's visual was custom-made for him. With his tall and slender frame, tailored clothing fits him perfectly. This suit was also a big hit with fans, so we displayed it at Hanshin Department Store and Maison KOSE Ginza.

 

Each year, during the visual shoot for 'A Graceful Moment,' Hanyu presents various expressions that align with the mood we're going for. There are always so many great expressions to choose from that it's difficult to narrow them down. The unused photos are just too good to keep hidden, so we produced the 'Sekkisei Original Photo Book' as a way to share them with everyone," (Ms. Yanagihara)

 

The photo book was made in two versions, "Rin" and "Hana," with a variety of photos featured in each. The campaign, held this April, was a huge success for the second year in a row. In 2023, both versions included previously unreleased visuals from "A Graceful Moment," but this year, "Rin" features only new, unreleased cuts, while "Hana" includes key visuals from the 2023 holiday season and never-before-seen cuts from the key visuals of the "Sekkisei Miyabi Moisture Protect Serum" and "Sekkisei Miyabi Cream Nectal."KOSE continues to support beauty from various angles, while Hanyu embodies beauty beyond known boundaries. The ongoing collaboration between the two is something we cannot take our eyes off.

 

 

Comment from Photographer Uroku
This time, I had the honor of photographing the ad visuals for Sekkisei Miyabi's "Moisture Protect Serum."

 

Since the product design was based on the motif of bamboo, when considering the lighting for Yuzuru Hanyu's visual, I wrote down several keywords such as "bamboo," "sasa (bamboo leaves)," "Princess Kaguya," "moon," "night," and "moonlight" to solidify the concept. After much trial and error, the final lighting setup was something ethereal, like a full moon illuminating the dark, quiet night.

 

In the photoshoot set, Yuzuru, clad in his kimono, danced elegantly as if enveloped in moonlight within the stillness of the rustling bamboo leaves. He looked divine, as though he had taken on the aura of a modern-day Princess Kaguya, passionately yet gracefully embodying the significance of his existence. 

 

I found myself unable to take my eyes away from the viewfinder, continuously pressing the shutter. One thing I regret is that I could only witness Hanyu's performance through the viewfinder. I envy everyone else at the studio who got to see him with their own eyes.

 

 

Comment from Costume Designer Kazuhiro Sawadaishi 

Regarding the costume for Sekkisei Miyabi:
To express a modernized "Japanese" aesthetic and showcase the world of beauty, I designed two types of dresses for consideration: a maxi-length, tailored jacket dress, and a kimono dress made using traditional Japanese tailoring techniques.

 

The final dress combines elements of both-tailored based on jacket designs for the body and featuring modified kimono sleeves. The wide-collared kimono represents an androgynous beauty, the tailored body symbolizes the beauty of the physique, and the flowing sleeves represent purification and the elegance of movement.

 

For the fabric, a master of hand-dyeing created a delicate and soft impression using motifs of bamboo, water, and light. Finally, couture embroidery atelier Lemmikko embellished the fabric with snowflake-inspired embroidery. This culminated in a costume that embodies the fantastical world of bamboo, water, light, and snowflakes. 

 

Impressions from the Photoshoot:
When Yuzuru entered the studio in the costume, he performed a vibrant, sometimes grand, dance. It felt like witnessing a mythological world, and I think everyone in the studio was holding their breath, mesmerized by the beautiful moment.

 

After the shoot, when Yuzuru returned to the dressing room, he affectionately pointed to the dress and said, "How did this one do?" referring to the dress as if it were a trusted partner. He then added, "As long as this one (*5) looks beautiful, that's all that matters." I believe he truly saw the costume as his partner in expressing himself. It was a deeply memorable shoot for me.

 

 

Items Used During the Photoshoot
Base Makeup:
• Sekkisei Miyabi Moisture Protect Serum
• Sekkisei Miyabi UL The Cream Foundation 405
• Sekkisei Miyabi Face Powder 01
Eyebrows:
• Addiction Pressed Duo Eyebrow 004
Eyes:
• Addiction The Eyeshadow 023P
• Addiction The Eyeshadow 016P
• Addiction The Eyeshadow 029M
Lips: 
• Jill Stuart Bloom Drop Lip & Cheek Chiffon 04
Nails:
• Jill Stuart Color Base & Top Coat 101

 

 

Ad Campaign Team
• Executive Creative Director: Mayumi Takeuchi (KOSE)
• Creative Director: Shihoko Yonehara (KOSE)
• Art Director: Yuko Fukumoto (KOSE)
• Copywriters: Miho Shiomi, Mitsuki Abe (KOSE)
• Photography: Uroku
• Costume: Kazuhiro Sawadaishi
• Hair & Makeup: Hiro Odagiri (Nous)

 

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1 Kumazasa (scientific name sasa veitchii) is a bamboo native to Japan and Sakhalin.
2 Job's Tears, also known as adlay or adlay millet, is a perennial tropical plant native to Southeast Asia and introduced to Northern China and India in remote antiquity. Angelica Root (scientific name angelica archangelica) is an edible plant used in traditional medicine in different places, including Escandinavia, Chinea, Korea, and Japan.
3 Main female character of "The Tale of the Bamboo Cutter", a Japanese fictional story (monogatari) written by an unknown author in the late 9th or early 10th century during the Heian period.
4 T/N: this is part of the original text. It refers to the drawing published in the magazine. See p.5 of this document.
5 T/N: ‘koitsu’ can also be translated as this fellow; this guy; this person. It can be used to refer to both people and objects, and it is often used with a sense of familiarity or affection.