[2024.11.01] AERA x Yuzuru Hanyu Photobooks "Shin" & "Gi"

[yuzurujenn]

Articles/interviews in the context of AERA's Yuzuru Hanyu Photobooks "Shin" and "Gi", on sale from November 1st, 2024.

 

 

Info: 

https://x.com/AERAnetjp/status/1816292287938453930

https://www.amazon.co.jp/dp/4023323756

https://www.amazon.co.jp/dp/4023323748

 

 

BTS Video:

 

 

[On sale from November 1st] "Hanyu Yuzuru Photo Book Shin". "Hanyu Yuzuru Photo Book Gi".

Mika Ninagawa has photographed Hanyu Yuzuru in eight different situations with the themes of "heart" and "technique". The two books, "Shin" in all black and white and "Gi" in all color, will be delivered at the same time.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.05

 

Source: AERA issue 24.8.12-19 No.37, pg 9-15
Info:  https://x.com/AERAnetjp/status/1819281986546020374 / https://www.amazon.co.jp/dp/B0D89L6LS2

 

 

person in focus

"After all, it's frustrating when I can't perform well."

A session with photographer Mika Ninagawa for the first time in a year. In a long interview exclusive to this magazine, he talks about the ideals he pursues.

 

Writer: Takaomi Matsubara 

 

  Reveal hidden contents

Professional skater

Yuzuru Hanyu

 

Born December 7, 1994 in Sendai.

2009 Won the Junior Grand Prix Final at age 14.

2010 Became the youngest Japanese male to win the World Junior Championships.

2011 While practicing at a rink in Sendai, the Great East Japan Earthquake occurred, and he had to live in an evacuation shelter. The rink where he was training was temporarily closed.

2012 First participated in the World Championships, coming in third.

2013 Graduated from Tohoku High School. Enrolled in a correspondence course at the Faculty of Human Sciences at Waseda University, studying human informatics and cognitive sciences. Won his first Grand Prix Final. Won four consecutive titles thereafter.

2014 First Asian gold medal in men's figure skating at the Sochi Olympics. First World Championship win.

2017 Second World Championship win.

2018 Second gold medal in men's figure skating at the Pyeongchang Olympics.

2020 Won his first Four Continents Championship, becoming the first man to win all major international junior and senior competitions.

2022 Participated in the Beijing Olympics. In July, announced his professional career.

The ice show "Prologue" was held in Yokohama in November and in Hachinohe in December.

2023 In February, the ice show "GIFT" was held at Tokyo Dome.

In March, the ice show "notte stellata" was held in Miyagi Prefecture.

In March and April, he appeared in the ice show "Stars on Ice" (Osaka, Iwate, Yokohama).

In May and June, he appeared in the ice show "Fantasy on Ice" (Makuhari, Miyagi, Niigata, Kobe).

In November, the ice show "RE_PRAY" tour began at Saitama Super Arena.

The following year, it was held at SAGA Arena in Saga in January, Pia Arena MM in Yokohama in February, and Sekisui Heim Super Arena in Miyagi in April.

2024 In March, the ice show "notte stellata" was held in Miyagi Prefecture.

In May and June, he appeared in the ice show "Fantasy on Ice" (Makuhari, Aichi).

On September 15th, he will be performing in the "Noto Peninsula Reconstruction Support Charity Performance Challenge" in Ishikawa Prefecture.

 

----------------------------

 

It has been two years since he made a new start as a professional figure skater in the summer of 2022. In 2024, he led three successful ice shows: "RE_PRAY" (Saga, Yokohama, Miyagi performances), "notte stellata" and "Fantasy on Ice".

The shoot with Mika Ninagawa for the first time in a year began with a cheerful greeting from each other, "Thank you for your continued support this year," and "Thank you." When she said to him, "You're still as young as ever!", Hanyu replied with a smile, a little embarrassed, "I'm almost 30."

"Move freely."

With those words, he made expressions and gestures as he pleased.

Various scenes were set up in the vast studio. Hanyu, who changed costumes and was photographed in each scene, moved and made expressions freely, sometimes under instructions and sometimes as if he was imagining (creating) a story himself. The people watching repeatedly let out gasps of amazement as the images were displayed one after another on the computer monitor. It was nothing short of amazing how he instantly exuded various moods - from boyish with a hint of innocence to cool and seductive.

His creativity was not limited to the way he behaved as a subject. When the BGM was played during the shoot, his body naturally responded to the music, and he also requested songs himself when he saw the costumes. There was also a moment when he saw a prop that had been set up and asked, "Do you have one more of these?" This revealed his high level of creative awareness.

The shooting has completed.

"Thank you very much," he said, and there was something light-hearted and cheerful about it. After a year, what he showed in the studio was a more mature and expressive side to him.
 

 

 

 

Exclusive interview with this magazine

 

[In pursuit of a distant ideal]

 

He is now in his third year as a professional figure skater. Reflecting on his days of taking on unprecedented challenges, he spoke about what he has gained from them and what the future holds.

Photo: Mika Ninagawa    Writer: Takaomi Matsubara
 

 

Yuzuru Hanyu, the journey continues

 

hair & make up: Noboru Tomizawa 
styling: Masataka Hattori
costume: NEEDLES    BED j.w. FORD    YUKI HASHIMOTO 
prop styling: Ayumi Endo
 

 

  Reveal hidden contents

Yuzuru Hanyu started out as a professional figure skater in 2022. In his first professional ice show, "Prologue," he performed the first solo ice show in history. He skated for nearly two hours, with a structure that richly conveyed his skating career. Following "Prologue," he then performed a solo show at the Tokyo Dome for the first time in history, "GIFT." The ice show filled the gigantic venue, which had never been seen before. 

 

After "Prologue" and "GIFT," he held the performance "notte stellata" in March 2023, which was filled with thoughts and prayers for March 11.

 

It has been a year since our interview last summer, following those three performances.

 

Changes in the "depth" of thinking

"When I was interviewed a year ago, it had just been a year since I turned professional. I had a desire to grow and learn more specialized things. In the year since then, I think that my technique, expression, and many other aspects have changed. Among them, I feel that I have had many more opportunities to think about expression. I have been thinking about expression even in my daily life. I think that the way I think about my show, the way I think about each program, the depth of those things has clearly changed."

 

He talks about what triggered the change in the past year.

 

"First of all, I had to spend more time thinking about writing a new ice story after GIFT and also about my own performance."

The new ice story is "RE_PRAY", under the title "ICE STORY 2nd".

 

It opened on November 4, 2023 at Saitama Super Arena. It was performed in Saitama for two days, on that day and the following day, and in the new year it was performed in Saga on January 12th and 14th, and in Yokohama on February 17th and 19th, for a total of six performances in three cities.

 

After the premiere in Saitama on November 4th, Hanyu said the following.
"First of all, I myself have learned from games, manga, novels, and various other sources, about what life is all about, how precious life is, and other similar things that everyone else roughly feels.

In games, the concept of life is really light in a sense, and you can repeat it, so you can use characters to do all sorts of things and push forward with curiosity. If you apply that to the real world, you might be a person who has the drive to grab hold of dreams, or conversely, from a different perspective, you might be a very terrifying person. But if you could do it all over again, I'm sure people would try it."

 

24 hours a day, always skating
In this story with a game motif, the question of "choice" is often depicted.

We make choices in our lives, even if we are not aware of it. What if you choose a different option than the one you originally chose? Or would you choose the same option? This story asks the audience, which serves as an opportunity to reexamine their way of life.

 

Of course, just like "Prologue" and "GIFT," the fact that this story was completed and received with overwhelming acclaim was due to the performance of Hanyu, who was the sole performer. And even after six performances, he did not try to stay in the same place. He continued to evolve.

 

There were many evidences of this growth at the final performance of the Yokohama show, for example. The movements in the performance of "Chicken, Snake and Pig" where he moved forward as if resisting the shackles. The performance of "Megalovania", following a silent performance without music with only the sound of his edges resonating, was more integrated with the music than in previous performances. Not only in the production aspects, but also in the details of Hanyu's performance itself, there were traces of refinement here and there.

 

After the Saga performance, Hanyu spent his days preparing more rigorously for the Yokohama performance. 

"Of course, I trained and restricted my diet. Well, how should I say it, there are 24 hours in a day, but I spent the entire time on nothing else but skating. In other words, skating was always present, 24 hours a day.”

 

"That's right. To put it simply, it felt like I was spending every day just working on 'RE_PRAY'."

 

The reason he spent all his time facing skating was because he had regrets about the Saga performance.

 

"After all, it's frustrating when I can't perform well."

However, the standards of frustration have changed from when he was a competing athlete.

 

Still not enough
"Gradually, the focus is shifting from scores to an evaluation. If something technical that I had planned didn't go well, then my evaluation vector changes and my perspective shifts. I couldn't accomplish what I wanted to accomplish in Saga, so I was simply disappointed."

 

After spending 24 hours focused on skating, the Yokohama performance came. After the final performance, he said, "I feel a sense of accomplishment like winning the Olympics."

 

While he felt a sense of fulfillment, he wasn't completely satisfied. He also felt that his ability had not yet caught up with what he wanted to do.

 

"So I feel like there are still things I need to study more. Of course, I think I'm evolving. I think I'm getting better. But I still feel like it's not enough. As I keep digging deeper and deeper, my ideals become higher, and the things I want to express are becoming more and more specific. The more my ideals become more concrete, the more I feel like I'm not catching up."

 

He is aware that he still has areas where he needs to improve, especially in the finer details. This is something he realises now, which he didn't feel this way when he was competing in the sport.

 

"It's impossible to realise this when you're a competitive athlete. After all, if you can jump, you win. To be honest, if you couldn’t jump, there was no point in talking about it, as the outcome of the competition was pretty much decided by how many types of quadruple jumps there are and where you put them in the program. For example, what memories do you have of this song, the background of this song, what is the story you want to express, how the story and the song will fit together, or what meaning is in the choreography, to be honest, there’s not much room to think about that. You have to complete all your technical elements in one go in the four minutes of a competition (free skate), so that's all you can focus on."

A world not in first place
Win the match. In a competition, that is set as a goal.

 

"Since I had already achieved that, there was no way I could go any higher. If you think about it in the world of competition, I won first place, so even if I tried harder, I couldn't get any higher than first place. In other words, I just tried to see how long I could maintain that first place position.
But in the world I'm in right now, even if I think I'm in first place, it may not be. It’s a place where I can think, "I'm still at the bottom". When I look at the various works of art or technically excellent things from around the world, I feel that there are still many things I can't do, so I think that I still have a long way to go."

 

When he moved from the world of competition, which was fixed in a sense, to a new world, it was no longer a confined space.

However, whether one knows its vastness or not, whether one feels that there is an endlessly wide world out there, is up to the individual. So even though the world is infinite, some people only notice a limited space. Or, there are those who limit the space themselves.

 

Right now, Hanyu thinks, "I still have a long way to go." He feels like he's at the bottom. This is because he knows that the world is endlessly vast.

 

The reason he feels this way is because he has the ambition to move forward without being content with the present. So instead of seeing the place he has arrived at as the end point, he knows that there is still space to go beyond that.

 

Ideals evolve
"I may have surpassed the ideal I had a year ago. But the sense of distance between me and my ideal is probably the same as it was a year ago. For example, if the distance between me and my ideal a year ago was 10 meters, it may be 10 meters, no, 11 meters now. That's how I feel. I'm living and experiencing life, I see information every day, and in the midst of that, my ideal evolves. My ideal gets further and further away. But at the same time, through what I have seen and experienced, I'm sure I’m also one step closer to my ideal."

 

Then, after a short pause, he continued with a smile.
"As long as I want to, I think I can continue for the rest of my life."

 

The skater is still on his journey, striving towards the ideals he has built with his own will. 
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.08.17

 

Source: AERA issue 24.8.26 No.38, pg 37
Info: https://x.com/AERAnetjp/status/1823993033878114654 / https://www.amazon.co.jp/dp/B0D89L989K

 

 

The 29-year-old's "Shin" and "Gi" 
An overwhelming presence in both monochrome and colour

 

During breaks in the photoshoot, he answered questions from fans that had been submitted in advance. At times, he was troubled and thought about the person asking the question, saying “That’s a difficult one”.

 

Editorial Department: Shiho Fukui
Photo and Video Department: Tetsuya Higashikawa
 

 

  Reveal hidden contents

During breaks in the photoshoot, he answered questions from fans that had been submitted in advance. At times, he was troubled and thought about the person asking the question, saying “That’s a difficult one”.

The 29-year-old's "Shin" and "Gi"
An overwhelming presence in both monochrome and colour

The light from the projector illuminates his figure as he stands tall in the studio. Even with the simple lighting, he has an overwhelming presence. Two photo books documenting the collaboration between professional figure skater Yuzuru Hanyu and photographer Mika Ninagawa will be released simultaneously in November.

It has been two years since Hanyu announced that he would turn professional in July 2022. During this period, AERA has produced two photo books, "Yuzuru Hanyu: The Driving Force Behind His Leaps" and "Yuzuru Hanyu: The Driving Force of Solitude." Both were photographed by Ninagawa.

Needless to say, Hanyu is an athlete. But the moment he puts on a haute couture outfit, he brings it to life and captivates with his expression. His way of making the colorful sets prepared by Ninagawa his own always receives a great response.

A collection of photographs by two artists who always aim for the top and pursue expressions that no one has seen before. The reason they decided to produce two new books, the all-black-and-white photo book "Shin" and the all-colour photo book "Gi", again came from their desire to "see things they have never seen before".

At the Sochi Olympics when he was 19 years old, Hanyu won the first gold medal for Japan in men’s figure skating. Four years later, at the Pyeongchang Olympics, he achieved the first two consecutive Olympic victories in 66 years. At the Beijing Olympics, he attempted the unprecedented quad axel. He has continued to hone his skills even after turning professional.

Hanyu turns 30 this year.

How will he celebrate this milestone that everyone considers a turning point? He started skating at the age of four and has been doing it for 25 years. Behind this achievement recognised by everyone, there must have been unimaginable loneliness and suffering. In an interview for "The Driving Force of Solitude," he answered that the kanji that best describes him is "core." His words, "I absolutely do not want to waver," showed his longstanding determination as he continued to face skating head-on.

The pinnacle of skill shown in a world of vibrant colours, and the unchanging depth shown in a world without colour. Look forward to the photobooks that record the last of his twenties.


Note: *心技体 (Shin-Gi-Tai) – Shin = mind/heart, Gi= skills/technique, Tai = physique/body

 

[Wintek]

2024.10.30

Machine translation of Behind the Scene video with excerpts of the interview with Yuzuru.
Source, AERA official YouTube Chanel
 

 

**Machine translation, inaccuracies exist**

"Gradually, I’m starting to see again who I am and the kind of person I am. The strength of my own will, like deciding what I want to do, is becoming more defined, and there are so many more things I can do on my own.

But when it comes to expressing myself or skating, I think it’s important to keep a childlike mindset in that area. Balancing that aspect and carrying it at the same time, I feel, is essential.

I want to stand firmly as an adult, independent and grounded. But I don’t think I could ever skate alone; it’s truly because of everyone who supports me that Yuzuru Hanyu exists as I am.

And because of the passion that everyone pours in, I, as the subject of this photo—or any photo—can finally exist, and then the (creative) work can emerge."

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.11.01

 

Source: AERA Special Edition "Shin"

https://weibo.com/6473801248/OEil7CHGs

https://weibo.com/6473801248/OEirAk5Bv

https://weibo.com/6473801248/OEiFAf2Vv

 

 

Q&A session from Yuzuru Hanyu's photo book "Shin":

 

  Reveal hidden contents

Q: When you feel uncomfortable in your current environment, should you try harder or choose to change your environment? What standards do you use to judge?
A: I think when you really want to work hard, but you know that no matter how hard you try, you won't get better results, then maybe it's time to consider changing your environment. Or perhaps it depends on whether you see "changing the environment" as giving up or as an opportunity to finally continue striving. So, I believe that “how I feel inside about changing my environment” is my standard for judgment. If I feel like I’m “giving up” or “escaping” when trying to change my environment, then it might be better not to change.

Q: When you feel so small that it's overwhelming and you have no confidence, what words do you use to boost your self-affirmation? Can you share a magic phrase?
A: Hmm… Words? I don’t have such a phrase, so I can only “put my head down and work hard.” I can only keep trying.
I’ve always felt this way, whether it’s about things outside of skating or skating itself, I strongly feel that “I’m too insignificant.” I lack confidence. But because I lack confidence, I push myself to work hard. I practice to the point where I think, “If I reach this level, I should feel a bit more confident.” I’m someone who manages to hold on through hard work.
So, I don’t think there’s a magic phrase that works wonders when confidence is low. It’s just about doing your best, that’s all.

Q: When I’m about to have an important event, I always worry too much about my health management, which makes my physical condition worse. Mr. Hanyu, how do you manage your health?
A: Honestly, I feel a bit helpless about this. Before big events, I also end up exhausting myself. I get so nervous that I have stomach aches and feel nauseous, but how should I put it… I accept that this situation can happen from the very beginning.
With this mindset, sometimes I think, “Hey, surprisingly, my condition this time isn’t bad,” or when I consider my poor physical state as the norm, I feel great when I’m in good shape and just think, “Oh, it’s not bad,” when I’m not feeling well.

Q: When I have to talk with difficult people at work, I find it hard to make eye contact. How do you manage communication with challenging individuals, Mr. Hanyu?
A: In those situations, I don’t think it’s necessary to look directly into the other person’s eyes. From a zoological perspective, “looking someone in the eye” can be seen as a form of intimidation, so sometimes not trying to maintain eye contact actually makes the other person feel more comfortable. So, I try not to overly fixate on their eyes.

Q: Recently, I find that I suddenly forget small things… How do you remember them in this case? ① Try to think hard ② Look it up ③ Use your own unique method to think hard
A: I understand the urge to look things up because you don’t want to waste time, but that does give a feeling of having lost to yourself… What to do? I don’t have any unique tricks… Hmm? Actually, maybe I do? I think I will be like, “If I can’t recall it, I’ll just set it aside until I can remember.”
While I do try to think hard about it, if I can’t recall it at that moment, then I might just let it go. I accept it as “not being able to recall means I don’t need it right now.”

 

Q: I don’t have friends I can call close friends, and I feel very lonely. Mr. Hanyu mentioned close friends recently. How can I meet someone like that?
A: Ah, I can only say it’s fate. How should I put it? It means that there is someone with whom I get along well. I feel that if it is this person, I will not feel tired when I am together. If it is this person, it is easy to talk about anything. Sometimes I am surprised that I can talk so much.
For me, I think it’s because I’ve been thinking about performance with that close friend, exchanging ideas and working together, so, how should I put it? It’s like people with similar views on performance and similar values in life might become close friends. I have that feeling.
But truly, it’s all about chance. If you do encounter someone, you’ll feel very lucky... Even if you don’t meet someone, if you go looking, you might find unexpected connections. They don’t necessarily have to be a person from the real world, they could be from a fictional world or a book. As long as you can have moments that bring you peace of mind, moments where you don’t have to think about anything, that might be good.

Q: When something you’ve poured your pride and perseverance into doesn’t get the expected response or evaluation, how does Mr. Hanyu feel?
A: I probably just think, “My efforts weren’t enough.” I understand that sense of perseverance and pride very well, because I’m a creator and a performer myself, so I empathise deeply. But if it doesn’t come across, it might just mean my work is still half-baked... How to say it? Being too radical can lead to various criticisms and all sorts of feedback, but ultimately, we’re striving to make people feel good, so I reflect on whether my efforts were enough.

Q: After watching Mr. Hanyu’s performances, although I was indeed there, the memories feel blurry, like a dream. How does Mr. Hanyu preserve such incredibly happy memories?
A: Actually, my own memories can’t linger much either. Good memories don’t tend to last long, that’s a rule in my heart. Unpleasant memories or failures tend to stick around unexpectedly. So, I try to recall the memory of that moment as much as possible. It’s like memorising words. When memorising English words, you say them out loud or write them down multiple times, right? It’s a bit like that feeling. I keep picturing that memory in my mind countless times. Even though I don’t know if it’s a real memory, that moment’s memory temporarily takes shape, and that’s how I remember it. That’s how I remember the scene around me during my performance at the PyeongChang Winter Olympics.

Q: I have a major failure that makes me feel very frustrated every time I think about it. If it were Mr. Hanyu, how would you overcome it?
A: Ah… I just don’t touch it (laughs). I completely avoid that topic and don’t think about it at all. That’s how I do it.
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.11.01

 

Source: AERA Special Edition "Shin"

https://weibo.com/6473801248/OEgQd1Vjm

https://weibo.com/6473801248/OEhf1dYW6

https://weibo.com/6473801248/OEhA7mxou

 

 

 

Interview with Yuzuru Hanyu from the Photo Book "Shin"

 

  Reveal hidden contents

— In the sports world, people often say that "heart, technique, and body" (Shin-Gi-Tai) are very important. Among these, I’d like to hear your thoughts on something related to "heart."

YH: Of course! Thank you for your support!

— First, I want to ask, in the Q&A of this photo book, you said, "If the feedback is not good, I only think that 'my effort is not enough.'" This statement left a deep impression on me. Some performers believe that if their work does not receive good evaluations, it is due to a lack of understanding on the part of others. They think the problem lies with those who do not understand. Your perspective of thinking "it's just that I haven't tried hard enough" feels like pointing the blade at yourself rather than others.
YH: I actually don't know how to think "Why don't people understand me?"

— So, you mean this is a matter for the performers, and it’s their responsibility?
YH: From the perspective of a performer, if we delve into what we want to express, I think it stems from having something we want to convey and hoping others can understand it in some way. We aim to communicate these ideas. If they are not conveyed, I only see it as a shortcoming in my method. People are different, and everyone has various interpretations of what is "impressive." So, I know it’s impossible to communicate with everyone. However, I still hope to reach as many people as possible, and I want anyone who sees it to think, "Ah, this is what it is." That’s what keeps me motivated.

— Some people might think, “Even if I can’t make everyone understand, as long as one person gets it, that’s enough.” Your thoughts seem to completely contradict this idea.
YH: Of course, I have thought, "As long as I can convey this feeling to one person who is moved by it, that’s enough." However, if that "one person" could become everyone, then I would indeed be very happy. For example, if 70% of the audience understands, but 30% feel left out and bored, then I would think, "My performance didn't cater to that 30%." Therefore, I believe that while I strive to enhance the purity of my emotions, I must also develop expressive techniques that resonate with that emotional purity.
Take, for instance, a manga artist who has created a popular series spanning 20 volumes. If they start a new series that fails to gain popularity and gets cancelled, such a situation is quite likely, isn’t it? Because the voices of readers will not lie. The same goes for us—if no one is watching, we can't continue. I think that’s the structure of society. Even if you work hard to present what you believe is the best, if society doesn’t recognise it, you might feel, “I’ve worked so hard, yet I haven’t conveyed anything. That is too unreasonable!” The world is full of such experiences. However, I think this unreasonableness ultimately comes down to my own efforts not being thorough enough, or not mastering the correct techniques for communication, which leads to the message not getting through.

— You hold such thoughts and feelings, and to convey them, you also need to improve your skills. As a performer, your strict attitude is evident. When did you start to have this mindset?
YH: It might be due to my personality, or perhaps it has always been this way. For example, if you fail a jump in a competition, do you blame others? No, right? Similarly, for me, if the ideas I want to convey are not expressed, it equals failure. This failure is not anyone else's fault; it’s my fault. I'll think "maybe my timing was wrong" or "maybe I was too forceful in my performance." I see it as my own responsibility.

 

[It is because of the pain that it feels real]

— Taking the example of the comic you just mentioned. If the message isn’t conveyed, attributing it to the reader's lack of understanding shifts the responsibility onto others. I think, in a sense, this is just finding an escape for oneself. If you believe it’s due to insufficient personal effort, then it leads to personal suffering, doesn’t it?
YH: Yes, it does. But it is precisely this pain that gives a sense of reality. If you immerse yourself in a lukewarm hot spring, you won't really feel like you're in a hot spring, right? Of course, I believe there should be an appropriate temperature, but only when it reaches a certain heat can you truly feel that you’re soaking in a hot spring, warming up and feeling happy. Similarly, in daily life, if you stay in warm water too long, you’ll just end up feeling more and more swollen, and ultimately, there’s no sense of feeling alive or the reality of effort. I think it can become that way. It’s precisely because there are times that are very cold and times that are very hot that I become aware of moments like “I’m experiencing a hot moment” or “I’m currently in cold water.” This awareness allows me to truly feel the reality of my efforts.

 

— I can sense your desire to convey something to many people and your pursuit of expressing your ideals. You’ve mentioned that this ideal is constantly advancing, and I think this progression is closely related to your capacity to receive various stimuli. From what sources do you gain this stimulation?
YH: For example, from ballet and dance-related content, and more broadly speaking, from novels, the feelings conveyed by photographers, movies, anime, and so on—everything can stimulate me. In a sense, I think news is also a form of expression. For instance, when a major disaster occurs, the way the message is conveyed and received can vary greatly based on the content and the method of delivery. Even if the facts remain unchanged, the understanding can differ entirely depending on how it’s conveyed, right?
I believe this applies to skating as well. Suppose I’m performing a sad program; if a smile appears on my face, how would that be understood? Some might think, “That’s inappropriate for the performance.” But if that smile comes after transcending sadness, it might be interpreted differently. If I can reach that point, I think both my technique and mind would have improved further, allowing me to convey it.

— In other words, everything can serve as stimulation for your performance and ideals.
YH: That’s true. It's the same with the trivial things in daily life. If I consider everything that enters my eyes and ears as part of my expression, I can repeatedly recognise my shortcomings and constantly discover areas where I haven’t done enough. I live in this awareness every day.

— While receiving such stimulation, your ideals are continuously developing. At the same time, I feel that your ideals should be things you envision for yourself or are based on yourself. However, when your ice performances achieve such great success, external expectations like “I want to see something even more amazing” can also increase. Does this create pressure and inner conflict for you?
YH: The pressure is immense… Every single time, I try my best to show something that "there is no better than this", so if someone asks me if I can show something that surpasses that in the next moment, I can only say that it is not so easy to do. For example, in "RE_PRAY," if I deliver a perfect performance on Friday, can I surpass that by Sunday? It’s impossible to surpass it just one day later. I put in over a month of effort for that Friday performance to finally exceed my previous performance, yet I’m expected to outdo myself within a day or two. This terrifies me. I become so nervous that I can’t eat and my body trembles. This happens often.
But I just realised that when I think about my ideals, the standards are indeed based on myself, but I believe that is “the version of myself that everyone expects.” The evaluations are not my own but are based on how others see me, which becomes my standard. Regarding what you mentioned about using others as punching bag when what you want to convey is not understood, attributing the failure to communicate to the audience's shortsightedness, I believe that everyone’s evaluation is my evaluation. It’s wrong for me to assess myself independently.
I think only when I achieve results and receive good evaluations can I tell myself, “You’ve worked hard.” Without these, I think I could never truly feel that I’ve put in enough effort in my life. 

 

[Every day feels like a last-minute effort.]

— You place great importance on communication and understanding. If you fail to convey something well, you see it as your responsibility.
YH: While preparing for performances, even if I work hard, if I don’t receive good feedback in the end, I’ll feel like "I thought I was trying hard." I’ll think that my efforts were meaningless. With all sorts of information coming in, I continue to grow, and my ideals evolve too. I believe that the point where my personal ideals intersect with everyone else's ideals of Yuzuru Hanyu is my target. My self-assessment and my current position are shaped by others' evaluations. I’ve been striving to exceed both my own ideals and everyone’s ideal.

— These two ideals continuously intersect, and striving to position them at a higher point and surpass that must be incredibly challenging... especially when you bear all the responsibility.
YH: Perhaps it’s just in my nature, so I don’t find it strange. In fact, pushing responsibility onto others would cause me more pain. Blaming others or attributing my incompetence to them in an attempt to escape makes me feel even more pathetic. I don’t want to feel guilty, and maybe that’s why I keep working hard. When I fail to meet others' expectations, I feel extreme disappointment in myself, and I work hard to avoid that feeling.

— In a sense, do you feel like you’re constantly being pursued?
YH: That’s why I’m scared. I think humans are like this. For example, during hunting, if you’re not in a state of fear or pushed to your limits, adrenaline cannot be released at 100%. In other words, it’s this constant sense of fear that keeps me driven and striving. This has probably become part of my personality.
Some people have experienced this, others may not. It’s like when you’re in school and have a test coming up, only to find out the night before what’s on the exam, then frantically studying last-minute... that’s how I approach skating and training every day.

— Lastly, I want to ask you, on December 7th, you will be turning 30. How do you feel about transitioning from your 20s to your 30s?
YH: I’m gradually understanding what kind of person I am, realising the strength of my will and the things I want to do. My core is becoming clearer. The things I can do are also increasing, and I feel like I’m gradually climbing the ladder of adulthood in my own way. However, as a performer and skater, there is also a part of me that is free-spirited like a child, which is very important. As I approach my 30s, I want to learn how to switch between being an adult and a child. It is important to have both sides.
As an adult, I want to stand firm and strong. But I don’t think I can skate on my own. It’s truly because of the support of many people that Yuzuru Hanyu exists. So, I absolutely don’t want to become complacent. In this sense, I want to be an adult while continuing to embrace my inner child.

 

[Wintek]

*MACHINE TRANSLATION from Japanese to English. Inaccuracies Exist*

2024.11.05
Source: AERA regular edition

(P. 9)

 

What kind of image comes to mind when you think of the term 'technique' in the concept of 心技体 ("shin-gi-tai": mind, technique, body)?

"If you ask what ‘technique’ is, I think it could also mean both the mind and the body."

— From Yuzuru Hanyu Photobook GI (AERA Special Edition)Professional Skater
Yuzuru Hanyu

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(P. 33)

Yuzuru Hanyu x Mika Ninagawa
Hair & Makeup: Noboru Tomizawa
Styling: Hina Hattori
Costume: sulvam, YUIMA NAKAZATO
Prop Styling: Ayumi Endo
 

(P. 34-37, Photos)

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(P. 38-39)

The Best of the Best
Yuzuru Hanyu x Mika Ninagawa: The Ultimate Collector’s Photobook "Tai"

Their first session took place in 2018 when Hanyu was 23. Since then, they’ve completed four photoshoots up to this summer, capturing pivotal moments in his career.

Photography by Mika Ninagawa

Amid a set filled with blue roses, Hanyu gazes intensely into the lens as if searching for something. Yuzuru Hanyu, with a hint of youthful innocence, first stood before photographer Mika Ninagawa’s camera just before the opening of the 2018 Pyeongchang Olympics. He examined the set Ninagawa had prepared with great interest, jokingly saying he felt “like a doll.” But when she requested him to “give a look like when you’re performing,” he instantly transformed his atmosphere. This shoot, with Hanyu on a cover surrounded by blue roses, sold out in many stores and achieved an unprecedented large reprint for a weekly magazine.

He once again stood before Ninagawa’s camera in September 2022. By then, he had achieved back-to-back Olympic titles, completed all major international titles from Junior to Senior as the first male skater, and attempted the unprecedented quadruple axel. After all these achievements, he had decided to turn professional.

One particular shot with graceful lines captured during that session crossed the ocean and caught the eye of a curator, leading it to be displayed at the Boston Museum of Fine Arts. This confirmed that Hanyu, though an athlete, is also an artist.

Since then, the two have continued their shoots almost annually. On November 1, they released two photobooks documenting their fourth session, Yuzuru Hanyu Photobook Shin and Yuzuru Hanyu Photobook GI. These photobooks, which capture the performer’s “mind” (Shin) through monochrome images and his “technique” (Gi)  through vibrant colors, have generated a significant response.

The Radiance and Melancholy of His Twenties

Born in 1994, Hanyu will soon turn 30. He reveals his thoughts as follows:

  Quote

“It’s only because so many people are supporting me that Hanyu Yuzuru, as he exists(1). And because of the passion everyone pours into this, it’s only then that Hanyu Yuzuru as a subject comes into being, and after that, I think, the artwork itself can emerge. So, I want to make sure I never become complacent(2).”

Expand  

 

These four sessions have captured the brilliance and introspective side of Hanyu in his twenties. As a culmination of these shoots and as a new starting line, this magazine has decided on the prequel to Yuzuru Hanyu Photobook Tai. In addition to select shots from the four sessions, the book includes unreleased images. It’s also being edited as the first large-format book at 297mm x 297mm. Furthermore, it includes a small booklet of past interviews and candid moments from the shoots, a calendar designed with Hanyu’s handwritten characters, and a behind-the-scenes DVD, all packaged in a special collector’s box. This collector’s edition photobook is slated for release in March 2025 as a fully reserved sale.

NOTES:
(1) 存在 (sonzai): existence, being, entity. 存在 in "羽生結弦という存在" gives Yuzuru’s statement a reflective, almost philosophical nuance, emphasizing that his identity (the existence of Hanyu Yuzuru) isn’t just his own but something shaped and supported by others.
(2) 独りよがり: it can also be translated as self-centered. Yuzuru's emphasis is on staying grounded and humble, maintaining an awareness of others' contributions to his success.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.11.08

 

Source: AERA Instagram Live https://www.instagram.com/p/DCHD1set5Bd/

https://weibo.com/6473801248/OFqWWCEcY

 

 

Summary of Aera’s Photoshoot Staff Instagram Live 

 

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When the two staff members commented, "The highlights are really beautiful!" Yuzu responded, "It's a two-tone dye~" When Yuzu walked out of the makeup room with his two-tone hair, it caused quite a stir among the staff.

Q&A:

Q1: At what stage did the Shin Gi project become two books? Did Ninagawa take the photos separately during filming?

Around this spring, when everyone was discussing whether to continue the "XXX’s Driving Force" series, they felt that the word "XXX" had already reached its peak. Perhaps they could step out of this category and try something different. They also discussed Yuzu’s evolving skills and unchanging core after his career change, planning to express these through two different books.

Q2: I was surprised by the richness & depth of the monochrome. What criteria did you use to choose the shade of black?

This time, Shin’s black printing direction was very meticulous, using the expressive "Megami Super Black" ink. The colour prints were also done with great care. While the usual method uses the four CMYK colours, this time they added fluorescent pink, which made the reds more vivid and the blues stand out more. The staff decided to add the fifth colour after seeing the cherry blossom set.

Q3: For the staff who participated in the photoshoot, which scene was your favourite?

Everyone was sure Yuzu would look amazing in strong, colorful outfits, but since they hadn’t shot in black and white before, and Shin was using a more abstract atmospheric style to convey the mood, they were initially worried Yuzu wouldn’t be able to express it well. However, the final result was stunning, and the staff was deeply impressed. They also became more confident about releasing the project in two parts.

One of the most popular scenes was the ore scene (Red King set). The staff and Ninagawa discussed the shoot during the session. Yuzu himself suggested posing while holding a diamond, and he also asked Ninagawa to shoot from another angle, while Hattori prepared clothes that were suitable for that worldview. When the photos were printed, the staff couldn’t help but gasp in awe, their hearts racing.

Q4: Are there any funny episodes about Hanyu-kun during filming?

Yuzu playfully peeked through the blinds, but once the photoshoot started, he immediately exuded a strong aura—sharp and fierce!

Q6: Which outfit were the staff most excited to shoot for?

The staff’s favourite was the Red King outfit. Yuzu’s shoulder and neck lines looked absolutely stunning, and the staff admired Hattori for finding such a perfect outfit. They were also surprised by the design of the cherry blossom outfit, where the tie is threaded through the sleeve. Once Yuzu put it on, his expression instantly transformed, and he seemed to enter that world in a split second. Everyone agreed it suited him perfectly. Yuzu was very good at using the props on set. He would pick up a fallen leaf and take a picture of it as it fell from his fingertips.

Q7: Did Hanyu say anything about the music that was playing during the shoot?

There was no sound system on the set, so I had to use a Bluetooth speaker brought by the staff. I was temporarily made the DJ and was in charge of picking the songs. I was really nervous. At first, I played some songs Yuzu liked, such as tracks by Ms. Green Apple. Later, the music was changed to match the scenes. I was concerned about whether the music was suitable, but Yuzu was in perfect sync with it. Some songs were even ones Yuzu specifically requested.

Songs that I thought were especially fitting:

• "Gips" by Shiina Ringo (Shin cover)
• "Stairs" by YMO (Aera 17/8 cover)
• "The Eraser” by Thom Yorke (Tank top outfit)

 

(Add on: The Aera Aug 5^th cover was “Mrs Green Apple”, and Gi cover was “Daft Punk”)

Q8: Were there any outfits or sets that Hanyu found interesting or intriguing?

The cherry blossom scene, I think Yuzu must have had a clear image of the scene with the set and outfit. The Red King set was also very interesting. There was a funny incident during the shoot— since Yuzu has such a small face, the crown was too big for him. The assistant worked really hard to adjust it and make sure it fit properly.

 

 

(end of weibo translation)

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Add on from the live:

 

Q5: Please let us know if there are any words that Hanyu said that made an impression on you.

If I had to pick a particularly memorable phrase from the interview, it would be when he talked about this being his last photo book of his 20s. As he’s approaching 30, he spoke about what he envisions for his future. He mentioned how, even as he continues to develop his skills and gain experience, he still wants to maintain a part of him that’s childlike—and just enjoying the skating itself. He said he wants to keep that feeling while facing skating. That really touched me. And I think that’s why, even now, his expressions are so fresh and captivating. It’s why I want to keep watching what comes next.

Q9: What was Mika Ninagawa’s impression about it?

This is the fourth time that Ninagawa-san has photographed Hanyu-san, so each time he comes to the set, he’s already thinking about what new techniques or ideas he wants to show, and he always manages to surpass the best. Mika-san mentioned that there were so many comments from people, that they were happy with the photos, and she was relieved and glad that we had done our best.
 

*Last Q10 focused on ‘Tai’ photobook info

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

2024.11.01

 

Source: AERA Special Edition "Gi"

https://weibo.com/6473801248/OFlBmeYol

https://weibo.com/6473801248/OFBKdyEV0

 

 

Interview with Yuzuru Hanyu from the Photo Book "Gi"

 

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[What Hanyu Yuzuru Was Thinking During the Aera Photoshoot]

—For this photoshoot, we changed the set and outfits, and shot in various different scenarios. During the shoot, music was always playing, and the moment you hear those songs, your expression and body immediately react. This left a deep impression on me.
I do react to music, yes. When I think about using this set, this outfit, and this makeup, I sometimes wonder, "Does this really suit the music being played?" So, sometimes I deliberately try not to match the music too much, while at other times, I think about how I can better match the music in certain moments. I was thinking about these kinds of questions during the shoot.

—If you were in a world without sound, how would you feel?
Well, even without sound, there are still unique expressions that can emerge from silence. I can still feel the atmosphere on set or think about what effect each set is trying to convey. I think, if there were no music, my expression might lean more in that direction, focusing more on the visual elements rather than sound.

 

 

[The Harmony of Heart, Skill, and Body]

—In sports, it's often said that "heart, skill, and body" (Shin-Gi-Tai) are all important. Among these, I'd like to hear your thoughts on the "skill" aspect. When you hear the word "skill" in the context of "heart, skill, and body," what image comes to your mind first?
The image of "heart, skill, and body" in my mind is like a well-balanced triangle.
Ultimately, when we focus on "skill," we realize that both "heart" and "body" are involved. So even when we isolate "skill," it cannot fully capture the essence of what skill truly is... So, if asked, "What is skill?" I think it is both "heart" and "body." They are not separate; they are always interconnected.
Hmm... For example, if we take a jump as an example, without the physical strength and muscle power to support it, or without enough mental strength, it just won't work. It’s difficult to isolate "skill" and discuss it alone.

 

 

[The "True Essence" in Every Field]

—Over the past year, as a skater, have you experienced any internal changes regarding your technique as you've refined your skills?
I feel like I’ve been spending more time thinking about "performance." Even in daily life, I’m constantly thinking about it. My way of thinking about my skating, and my thoughts on each of the programs, have clearly deepened.

—Where do you think this change comes from?
When creating new ice performances like "RE_PRAY" after "GIFT," and when working with my own performances, I began thinking more deeply about what I need—essentially, "What kind of technique do I need to achieve this kind of effect?" I must carry these deeper thoughts into my daily life.
Until now, in my skating career, I’ve never really studied ballet or dance seriously. I’ve just been imitating and copying the moves of the choreographers. That’s how I’ve come this far. So, I feel that my foundation isn't solid, or rather, I don’t have a specific level of technical skill—I've just been copying what I see.
But now, I’m starting to observe the movements of true experts in those fields, and I’m thinking about whether I should move like this, or like that. I am learning from them.

—After two years as a professional athlete, what has changed significantly for you compared to when you were an elite competitive skater?
Before transitioning, I was very much confined by figure skating, and most of my time was spent thinking about my figure skating performances. But now, during the creative process, I’ve gradually become clearer about the idea that "this is something I can achieve through figure skating, but that I can’t." So now, I’m actively learning how to use my arms and body in different ways.

 

 

[The Importance Beyond Jumps]

—In a previous interview, you mentioned that "your abilities haven’t caught up to what you want to do."
That’s exactly why I feel I need to keep learning! When we think about technique, our minds tend to get drawn to jumps, but the technique beyond jumping is also very important. In fact, if the techniques outside of jumping aren’t solid, many aspects will look messy. From this perspective, simply saying "I managed to land the jump" is far from enough.

—From my outsider's perspective, it seems like your technique has evolved and become deeper than before. But from your own perspective, is it really that simple?
I do believe I am evolving. I’m definitely skating better. But it’s still far from enough. Because I keep delving deeper into it, my ideals are constantly growing, and the specificity of what I want to express is constantly increasing. The more concrete my ideals become, the more I realize the small deficiencies in my movements—like the subtle imperfections in my body language. I start noticing things like the angle of my hand being off by about 5 centimetres, the direction my body is facing, the position of my face, the direction of my gaze, even the way I breathe. While others may not notice these details, it's these small things, which I’ve neglected until now, that make me painfully aware of my lack of skill.

—Don’t you find it exhausting to keep striving every day for a better performance or for your ideals?
If every day were easy, I probably wouldn’t have any confidence for the rest of my life. It’s precisely because I push myself hard every single day, working tirelessly even through extremely tough days, constantly researching and refining, that I’ve been able to gain a bit of confidence. But that confidence isn’t "I can definitely do it, so I don’t have to worry." It’s more like, I know how to execute a certain performance or technique, and because I know what to do and actually do it, I gain that kind of confidence.

—This photobook is being released in early autumn. How do you plan to spend this time?
Right now, I have something I’m planning, and I think I’ll definitely be putting in effort toward it. At that time, I’ll probably be thinking about how I want to skate better than I do now, and most likely, every day I’ll be thinking "I just want to give up," or "I want to run away..."
But… how should I put it, in the end, I never really ran away, and I kept pushing myself, didn’t I?