[2025.01.28] SO-EN March 2025 issue

[yuzurujenn]

SO-EN March 2025 Issue

 

Cover Special feature on Hanyu
Yuzuru Costumes and individuality- A special outfit

◆ Hanyu Yuzuru's "Echoes of Life" costumes, the revolutionary backstage

 

Info: 

https://soen.tokyo/fashion/news/soen20250122/

https://x.com/fashionjp/status/1881975169306284315

https://www.amazon.co.jp/装苑-2015年-3月号-雑誌/dp/B00S8IETBC/

 

 

 

Summary:

The March issue of Soen features the popular "Costume" project! We will focus on various costume creations from around the world, from fashion, entertainment, sports, and characters, and introduce the appeal of costumes, including the people who make them and the people who wear them, along with each work.

 

The cover and opening page of the magazine features world-renowned figure skater Yuzuru Hanyu. The magazine features beautiful costume photos from his solo tour "Echoes of Life" and behind-the-scenes comments from the artist himself! In addition, artist Aina the End has teamed up with a trusted costume stylist for a project, and girl group Cho Tokimeki♡Sendenbu has photographed costumes that are dear to the members' hearts. And in NEWS' Masuda Takahisa's series "MFBB," all of the costumes from "NEWS LIVE TOUR 2024 JAPANEWS" are introduced with commentary from Masuda!

 

In addition, there is a special feature packed with costume designs from fashion designers, popular creators, and up-and-coming artists! Looking at fashion and entertainment from the perspective of costumes should add even more fun to your life.

 

Yuzuru Hanyu's "Echoes of Life" costumes, innovative backstage

This 10-page feature covers the costumes for Yuzuru Hanyu's solo tour show "Echoes of Life," which will run from December 7, 2024 to February 9, 2025. It features interviews and design drawings by Takeshi Takahashi, who designed Nova's iconic costumes, Satomi Ito, who has been in charge of Hanyu's costumes for 10 years and has shaped his worldview, and Toshihiko Sakurai, who designed the four costumes for this show. In addition, the words of Hanyu himself and director MIKIKO will reveal the "costumes," which are one of the important elements that make up the world of this show and are full of innovative secrets.

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/PbO9tclzt

 

MIKIKO'S INTERVIEW

 

 

"The role of clothing is extremely important. It’s no exaggeration to say that it can determine the success or failure of a live performance. Of course, clothing can make a performance look more beautiful, but whether the performer can move comfortably can also affect their mental state. So, clothing plays a very sensitive and important role.

 

Nova is named ‘VGH-257,’ which means 'a created being.' When designing the costume, we wanted it to embody a sense of uniformity, futurism, and a powerful life force that could survive in this world. With that idea in mind, we proceeded with the design commission. When expressing a futuristic feel, I gave the instruction to be careful not to make it look like a cosplay costume.

 

Additionally, since Hanyu's transition to a new career, he has appeared more often in fashion magazines. In these magazines, he wears high-end brand clothes and strikes various poses that look very beautiful. I thought to myself that if we could incorporate similar cuts and silhouettes into his performance costumes, it would definitely give a refreshing impression. So, I suggested this idea. This time, we realized that when Hanyu wears slightly oversized clothes, his physique and presence stand out even more. Moreover, because he has worn many different styles of clothing before, his ability to handle costumes in performances is outstanding. He can understand how to manipulate the fabric in just a few seconds, making the clothing stand out and enhancing the beauty of his skating movements. This truly surprised me."

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/PbFzIlJND

 

SATOMI ITO'S INTERVIEW

 

 

About 'First Echo and Circulation':

 

"Hanyu has always viewed costumes as part of his expression since his competitive days, with a strong dedication to both design and functionality. Although the costume may appear separate, in reality, it is one cohesive piece. This is a crucial design point. The colors are always chosen by Hanyu himself, and this time, the design was drawn based on the color he originally proposed and the concept of the program. The costume for First Echo mainly features white as the base color, with accents of yellow-green. Inspired by the image of something just emerging from a cocoon, I used a design wrapped in organza. The side of the pants is adorned with rhinestones to create a vine pattern, and it connects to the light, yellow-green, stretchy material of the top, integrating the image of vines stretching and flowers blooming into the whole outfit."

 

 

About Aqua's Journey:

 

The design of Aqua's Journey seems to condense the elements of the costumes Ms. Ito designed for Yuzuru Hanyu, which is quite impressive.

 

"I was told that the program has an image of water splashes, so I decorated the elastic mesh with organza resembling the shape of a water surface. I also used long sequins and rhinestone hand-embroidered lines. Although the design is very much in Hanyu's style, organza doesn’t have elasticity and tends to fall off, so it cannot be used for competition costumes; it’s a material unique to ice performances. Both costumes come with custom thumb gloves made specifically for Hanyu. For the gloves of Aqua's Journey, as per Hanyu’s request, only the fingertips of the right hand were made in yellow-green. You can feel his desire to transmit a bright image right through his fingertips."

 

"A costume only truly becomes valuable when it becomes one with the wearer. No matter how extravagant the design or how dazzling the decorations, Hanyu is able to perfectly control the costume with his technical ability and unique style, never allowing the costume to overshadow him. During the process of making his costumes, I felt a unique joy—creating costumes that only Hanyu could truly bring to life. From his time as a competitive athlete, he has shown extraordinary creativity, and now in his post-competitive career with the ICE STORY series, I feel that he is fully expressing his worldview, including through his costumes. Hanyu looks even more radiant now."

 

Spoiler

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/PbGYryD2o

 

TAKAHASHI TSUYOSHI'S INTERVIEW 

 

Takahashi Tsuyoshi, a costume designer who has worked across various fields such as music, film, and animation, designed the costume symbolizing the protagonist NOVA. This costume appears in the main visual, video segments, as well as at the beginning and end of the ice story. The keyword Takahashi repeatedly mentioned was "near-futuristic."

 

Spoiler

"During the discussion based on the concept art, I came to understand the theme of the performance: 'What is life?' 'What is life and death?' I also learned about the background of the protagonist NOVA. NOVA seems like a wanderer who embarks on a journey to explore the meaning of their own existence. Though there’s no clear set time period, it is likely set in the near future. So, I decided to deeply explore this aspect in the costume design. The outfit consists of a short, collarless jacket, a long vest with pleats, a high-neck inner piece resembling a bodysuit, and wide-legged tapered pants. To embody the futuristic look, I considered incorporating more straight lines and constructing the design using 'flat, geometric shapes' as much as possible. The back of the jacket is largely hollowed out to expose the vest with a printed pattern. This is because if pleats were added to the jacket to ensure ease of movement, the fabric would become too soft and loses its straight-line structure. The front of the vest is left open and is secured with hooks at the V-shaped front, to accentuate the edges. The pleats are also designed with sharp, clean edges. By highlighting the corners of the garment, I wanted to express a sense of tension and a near-futuristic feel."

 

His pursuit of this concept is also reflected in his choice of materials.

 

"The jacket and pants are made from a matte polyester fiber, while the vest uses a glossy, thin synthetic fabric, and the spliced parts are made with satin. Even with the same black color, I wanted to create a contrast in depth and shine. Not using cotton fabric was an underlying theme for me. If the setting is 100 years later, the way clothes are made might have changed, and cotton might no longer be used as a fabric. As for the zipper on the jacket sleeves, I decided from the start to use 'Excella' (a zipper brand) which has a strong reflective effect."

 

This was the first time Takahashi designed a costume for Yuzuru Hanyu, and when he saw Hanyu performing on the ice while trying on the outfit, he said he was "deeply fascinated."

 

"When Hanyu stood on the ice, he completely transformed into NOVA. His posture was just so cool... This was the fastest I've ever seen a wearer move in a costume I've made. The pants with side openings and decorative buttons were designed to catch the wind while gliding, but the actual speed far exceeded my expectations, which really amazed me. I was deeply moved and learned a lot. As an athlete, I certainly have great respect for Hanyu, and the fact that he can express the Ghost in the Shell soundtrack through figure skating is incredible. To collaborate with someone as creative as him is a true honor. In short, I’ve become his fan."

 

Design Notes on the Drawing:

• Top left: Leather strap, repression and liberation
• Middle left: Tapered pants with side openings
• Bottom left: Pants that change their silhouette when blown by the wind, embodying a sense of life
• Top right: Maybe add a decoration on the chin? To express incompleteness
• Middle right: Asymmetrical jacket, constructed with straight lines for a futuristic look
• Bottom right: Stiff pleats in the skirt, obviously to show movement while conveying the message of "standing firm even in a strong wind."

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/PbE0SmcCA

 

TOSHIHIKO SAKURAI'S INTERVIEW 

 

About Mass Destruction:

 

Spoiler

The costume no. 16, which appears to be a basic white shirt and pants, actually hides some clever design elements.

"Under the armpits of the shirt, I added large pleats to allow for easier arm movement. In the elastic pants, I also included large diamond-shaped pleats that allow for a full 180-degree split. The seemingly ordinary polyester and wool georgette skirt is actually a dress. To prevent snags, I added piping to the pleats at the skirt's box pleats. The short-cut shirt, pointed collar, and volume of the sleeves were all designed with balance in mind, especially from the perspective of an audience member watching from the stands."

 

 

 

About blue/eclipse:

 

Spoiler

The light blue set was finalized after multiple discussions over the styles and color schemes.

"I discussed with MIKIKO-sensei and thought about what kind of costume could stay true to the character of Nova. We talked about how (Yuzu) had never tried wide-legged pants before, so I decided to take on the challenge and explore the right width for the pants, ultimately creating a fitted, tapered wide-leg design. To ensure the costume wouldn't lose its shape during movement, we secured the shirt, jacket, and pants together with snaps. However, to avoid the costume looking too tight or unnatural, I used ties around the waist area of the shirt and jacket for adjustment, and added some elasticity. Additionally, a seam was added from the back of the jacket to the waist to create a soft effect, with hand-stitched piping. This isn't a typical A-line jacket; instead, the design flares out below the waist, leaving space at the front. This was also done with the consideration that the back wouldn't puff up when exposed to wind."

 

 

About Utai:

 

Spoiler

What kind of costume could make the performance on ice more beautiful and captivating? The exploration for the golden-colored costume took the longest time.

"Hanyu and MIKIKO-sensei both wanted the costume to resemble wings when the arms were spread wide. I designed it based on the image provided by MIKIKO-sensei of a ‘ceremonial and mysterious’ feeling. The initial version of the costume had too much fabric, which didn't spread out well when skating. After many attempts and adjustments, I finally designed ventilation holes and slits at the hem of the wings-like coat to allow air to circulate. I used the lightest organza fabric for the material. Around the waist of the inner coat, I added a belt, and at the center of the back and symmetrically on both sides, I incorporated a framework to tighten the back and waist, keeping the upper body stable. As long as the wearer grips the support on either side, the wings can fully expand to a full 360 degrees. We also inserted magnets around the waist, so when the arms are released, the fabric naturally falls and fixes in place. Following MIKIKO-sensei's suggestion, we designed the outline of the jumpsuit into a flared shape so that the fabric would gracefully unfold when spinning, which worked very well.

Creating a beautiful yet practical costume under such powerful wind speeds and pressure is quite different from designing costumes for dance. Our entire studio tried various methods and poured all our efforts into it. Hanyu quickly mastered the costume during the brief fitting time and, while caring for all the staff involved, also delivered a performance that deeply moved everyone. He is truly an incredible person... Actually, we had considered adding fabric flower decorations to the golden costume, but in the end, we only kept the embroidery on the chest, which resulted in a simple design. Looking back, the key to this costume was its ‘ease of movement’ and ‘dynamic proportion.’ The goal of the costume is to maximize Hanyu's charm on the ice. If it helped enhance the world of the performance, then that would be the ultimate success."

"The embroidery on the chest is very attractive, and there is a similar pattern on the back. It is sewn with the image of "omamori" to encourage Nova who is beginning to explore what "I" is. (

 

The embroidery on the chest is striking, and the same design appears on the back. It is designed with the image of an "omamori*" to encourage Nova who is beginning to explore what "I" is. (*protective embroidery traditionally sewn on the back of a newborn's garment by parents to bless the child)

 

 

[Wintek]

*machine translation from Japanese to English, inaccuracies exist*
Source: SOEN magazine March issue released on January 28, 2025.
https://soen.tokyo/fashion/news/soen20250122/

Costumes and individuality: A special outfit

(P.16)

[Photo: Mass Destruction Costume]

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(P.17)

A great costume visually conveys the character of the wearer and resonates by amplifying their charm in multiple layers. This time, regardless of genre or cultural origin, we focus on costumes that possess a fundamental power to express the identity of a work or its wearer. To begin this special feature, we present the costumes from Yuzuru Hanyu’s solo tour show Echoes of Life, which is being held from December 7, 2024, to February 9, 2025. In this production, the costumes served as storytellers, as the very characters themselves, and as partners who performed alongside him on the ice. Through the words of the three creators who designed and produced the costumes, the director-choreographer MIKIKO, and Yuzuru Hanyu himself, we invite you to feel the innovative spirit of these garments.

Photographs by Takeshi Shinto (pp. 16–25)

 

 

Spoiler

Yuzuru Hanyu
Echoes of Life
Backstage of Innovation in Costume

Costume 1: A stylish monochrome costume that dominates the dance battle on ice
Playlist: The piece performed in this costume
Mass Destruction -Reload-

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(P.18) 

 

[Photo: Nova’s Costume]

"I will open—with this body, and with life."

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(P.19)

Costume 2: A futuristic outfit representing the protagonist of the story, VGH-257 (nicknamed Nova)

“I have a special attachment to Nova’s costume. This was the first time I wore the same costume both in the video and on the ice, and with this costume, I took on that challenge. Also, in this show, there are many outfits that look like everyday fashion, but treating them as costumes and wearing them on the ice was something very difficult. Some creators who specialize in making figure skating costumes joined us, and some who made skating costumes for the first time also took part. Together, they reworked and reworked the garments, creating many costumes through repeated arrangements.

This time, including the costumes, the show became a new kind of ice story, different from past shows like RE_PRAY and GIFT. I’d be happy if people could feel the texture of the fabrics used in the costumes that can only be seen in Echoes of Life.”

— Yuzuru Hanyu

 

Costumes can make or break a live performance.

 “That’s how crucial a role they play. Not only do costumes visually enhance the beauty of a dance, but they also affect how comfortably a performer can move—which in turn has a significant impact on their mental state. It's a delicate but vital aspect of performance.

Nova, named VGH-257, is a “created being.”
For this costume, we envisioned a uniform-like look with a sense of futurism—something that conveys the strength of a being that still exists in this world. That’s the concept we gave the designer. In expressing a futuristic feel, we were careful to avoid anything that felt too much like cosplay.

Since turning professional, Hanyu-san has appeared more frequently in fashion magazines. Seeing him pose in high-end fashion pieces with such elegance, I thought it would be refreshing to incorporate similar silhouettes into his costume—and I proposed the idea.

A new discovery this time was how wearing a slightly oversized outfit made Hanyu-san’s physique stand out even more. He has worn countless costumes over the years, and I was amazed by how quickly he grasped how to move the fabric during a performance—how to handle it to best showcase the design and enhance the beauty of his skating. He figures it out in mere seconds.”

——MIKIKO

 

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MIKIKO
Director and choreographer. Known for her work with Perfume, BABYMETAL, Shiina Ringo, and Gen Hoshino, MIKIKO is a leading figure in performance choreography. She also heads the dance company ELEVENPLAY, which explores experimental performances that fuse physical expression and technology. In 2023, she staged Syn: A New Horizon of Sensory Perception at TOKYO NODE in collaboration with Rhizomatiks and ELEVENPLAY. She directed Yuzuru Hanyu’s ICE STORY series: GIFT, RE_PRAY, and the current Echoes of Life.

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Nova’s iconic costume, designed for the character created by Yuzuru Hanyu in Echoes of Life, was worn in key visuals and video segments. It was designed by stylist and costume designer Tsuyoshi Takahashi and produced by AMPWORKS.

The structured, asymmetrical jacket—composed of straight lines—evokes a sense of futurism. The pleats on the vest suggest dignity in the face of the wind, and the tapered pants with open sides shift their silhouette on the ice, expressing vitality.

Playlist – Programs performed in this costume:
♪ First Pulse (Original)
♪ Poem of Everyone’s Soul

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(P.20)

Interview with Tsuyoshi Takahashi – Costume Designer

Fabric choices, details, and finish work that express a near-future world.

Tsuyoshi Takahashi, a stylist who works across music, film, and anime, designed Nova’s symbolic costume used in visuals and the opening and closing acts of the show. One key concept that came up repeatedly during our meetings was “near-future.”

“As we discussed based on the concept sheet, I learned about the show’s core themes—‘What is life?’ ‘What is death?’—and about Nova’s background. Nova is a character like a gypsy, traveling in search of the meaning of their own existence. The time period isn’t clearly stated, but it’s presumably set in the near future. I wanted to explore that idea further through the costume. The costume consists of a short, collarless jacket; a long vest with pleats; a high-neck inner layer like a bodysuit; and wide, tapered pants. To convey futurism, I designed the silhouette primarily using straight lines and large ‘planes.

The jacket has a large cut-out on the back, exposing the printed back of the vest. This is because adding tucks for mobility would have softened the lines and disrupted the linear aesthetic. The vest is not joined at the front—it’s hooked at the tip of the V to give it an edge. I paid close attention to how the pleats were finished, to make sure they stayed crisp and sharp. By emphasizing the angles of the garments, I wanted to convey tension and a futuristic feel.

The jacket and pants are made from matte polyester; the vest is a shiny, lightweight synthetic, with satin used for the seams. Even within the same black palette, I aimed for variations in depth and light reflection. Not using cotton was my personal behind-the-scenes theme—because if the story is set 100 years in the future, cotton might not even exist as a fabric anymore. As for the jacket sleeves, I had decided from the start to use ‘Excella’ zippers, known for their high shine.”

This was Takahashi’s first time designing a costume for Hanyu. During the fitting, seeing Hanyu perform in the costume on the ice left a strong impression:

“The moment he stepped onto the ice, Hanyu-san became Nova. His presence was just incredible. I’ve created many costumes before, but this was probably the fastest-moving setting any of them had been used in. The side-slit pants with decorative snap buttons were designed to billow in the wind as he skated—but the speed far exceeded my expectations. I was both amazed and deeply moved. It was a real learning experience.

Not only as a performer, but also as someone who brings creativity to life by skating to a piece like Ghost in the Shell, Hanyu-san truly inspired me. I was honored to work with him—and I became a genuine fan.”

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Tsuyoshi Takahashi

A stylist active in magazine, music, advertising, stage, and anime costume design. Recent works include Kenshi Yonezu’s “POP SONG” MV and Hypnosis Mic: Extra Wardrobe 04. Recipient of the ACC Tokyo Creativity Awards Costume Design Prize.

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Interview with Satomi Ito – Costume Designer

 

A fusion of design and functionality, born of a decade of collaboration.

Satomi Ito has been designing Yuzuru Hanyu’s costumes since the 2014–15 season, creating many iconic looks over the years. For Echoes of Life, she designed two delicate costumes:
“First Cry ~ Circulation” (p. 21) and “Aqua’s Journey” (bottom right), both featuring organza and embroidered embellishments.

The First Cry ~ Circulation costume captures something ethereal and sorrowful in Nova—something otherworldly. Its haunting beauty lingers vividly in the mind.

“Even during his competitive career, Hanyu-san always treated costumes as part of his artistic expression. He has a strong commitment to both design and functionality.

One important element is how the costume gives the illusion of being in separate parts while actually being a seamless one-piece. He always specifies his desired color palette, so as always, I first asked him what colors and themes he had in mind for the program.”

This time, the costume was primarily white with added light green. Ito designed it so that the stretch yellow-green top—delicate and sheer like a birth—would connect seamlessly with the pants. Ivy-like patterns made of crystals were added along the pants to evoke vines growing and flowers blooming, all expressed through a single garment.

“Aqua’s Journey” features a design that feels like a culmination of all the elements from the many costumes Ms. Ito created for Hanyu-san over the years.

“I heard that this program evoked the image of splashing water, so I decorated power net fabric with organza shaped like rippling water, and used hand-embroidered bugle beads and rhinestones to draw flowing lines. The design is very much in Hanyu’s style, but organza doesn’t stretch and tends to slip off easily, so it can’t be used in competition costumes. It’s a material unique to ice shows. As with all his costumes, he wears gloves with independently crafted thumbs—something that’s uniquely tailored to Hanyu. For the gloves in ‘The Journey of Aqua,’ his team requested a touch of light green just on the fingertips of the right hand. It made me realize how clearly he envisions even the very tips of his fingers.”

Hanyu, who reached the pinnacle of expressive artistry in the world of skating, is now blossoming as a creator, crafting his own narratives. Having worked on his costumes for 10 years, what does Ms. Ito now find compelling about this evolving work?

“A costume only comes alive when it’s in harmony with the performer—but in Hanyu’s case, no matter how dazzlingly embellished or design-forward the costume may be, he never lets the costume overpower him. Thanks to his technical prowess and personal style, he wears each piece with absolute command. It’s a joy to be able to create costumes that only he could wear. He already demonstrated creative talent during his competitive career, but in the ICE STORY series that he’s developed since turning professional, he’s expressing his personal worldview more fully than ever, including through his costumes. Right now, more than ever, he seems to shine brilliantly.”

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Satomi Ito
Figure skating costume designer. A graduate of Esmod Japon (now Esmod Tokyo). After receiving a special prize at the 2008 Kobe Fashion Contest, she studied abroad at Nottingham Trent University in the UK. Upon returning to Japan, she worked as a costume designer at a dancewear company, before going independent in 2015. She is highly trusted by skaters, coaches, and choreographers both in Japan and internationally.

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(P.21)

 

[Photo: First Cry ~ Circulation Costume]

Costume 3. “Hagoromo” [1]

Depicting the time of budding

Of the two costumes designed by Ms. Itō, this was the first to appear (the second costume in the show’s sequence). A delicate, asymmetrical top made from glass organza and adorned with Swarovski crystals reveals a sheer light green hue underneath. It features the high neckline characteristic of Hanyu’s costumes, and the cuffs of the inner top are elaborately finished with smocking embroidery. The sides of the pants are decorated with elegant beadwork in an organic pattern.

Playlist – Music performed in this costume
♪ First Cry ~ Circulation

[1] TN: Hagoromo (羽衣): literally means “feathered robe” or “robe of feathers.” It originates from Japanese mythology and Noh theater, and refers to a celestial garment worn by tennyo (heavenly maidens or celestial beings). These robes are said to give the wearer the ability to fly or descend to earth from the heavens.

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(P.22–23)

[Photo: Eclipse/Blue Costume]

Costume 4. Combining purity and strength

This costume elicited cheers from the audience the moment it appeared during the opening day's performance at Saitama Super Arena. A long coat paired with a silk shirt, and wide pants with cuffs and pleats create the look. It’s a striking costume that brings color to the second half of NOVA’s story, expressing both purity and power. The piece was produced by Toshihiko Sakurai and his team at SAQULAI.

Playlist – Music performed in this costume

 ♪ Eclipse/blue

 ♪ GATE OF STEINER - Aesthetics on Ice

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(P.24)

 

Left: Utai iv -Reawakening | Costume design sketch. The outfit was created through trial and error in selecting materials and construction methods that would accommodate large, sweeping movements and still look beautiful on the ice.

Bottom right: Mass Destruction -Reload- | Costume design sketch. Based on an image photo sent by Hanyu. The pleats on the skirt, in keeping with the style of NOVA, were designed asymmetrically. The final design features a shirt and integrated necktie made from silk. Rather than a conventional costume, the focus was on a more fashion-oriented aesthetic.

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Interview with Toshihiko Sakurai -Dressmaker Toshihiko Sakurai Interview

In pursuit of beautiful costumes that withstand overwhelming speed and wind pressure

Toshihiko Sakurai, who has created stage, film, and artist costumes for over 30 years, made his first foray into figure skating costumes with this project. He created four costumes: the white short shirt and layered skirt/pants ensemble (P.16), the light blue clean-looking set (P.2), the golden long coat costume (P.35), and one based on Hanyu’s own jacket from his personal wardrobe.

Reflecting on the process, Sakurai remarked, "It was a battle against wind speed and pressure." As Hanyu himself mentioned, one of the major themes this time was turning street fashion items—like shirts, long coats, and wide pants—into skating costumes. However, adapting such garments for performance on the ice, including jumps and turns, posed a serious challenge.

"There's a reason competitive figure skating costumes are so tight. If large pieces of fabric catch the wind while skating at high speed, it acts like a sail and slows you down. Just changing direction can cause the fabric to wrap around your body."

After observing rehearsals, Sakurai realized that heavy, stiff fabrics were entirely unsuitable. Instead, he had to choose materials that were light and as resistant to wind as possible, and he had to revise the construction of the garments as well.

For the costume on P.16, while it may appear to be a simple white shirt and pants at first glance, it holds many secrets.

"We added large gussets under the arms to allow greater arm movement. The stretch pants have a large diamond-shaped gusset that allows for a full 180-degree split. The polyester-wool georgette skirt is actually part of a one-piece outfit. The reverse pleats are piped to prevent snagging. The shirt’s short length, the sharply pointed large collar, and the voluminous sleeves were all designed with audience sightlines in mind."

The light blue set-up, too, came together through many iterations of item combinations and color schemes.

"While consulting with MIKIKO-sensei, we considered many patterns that wouldn’t stray from NOVA’s character. Since we had never used voluminous pants in a costume before, we decided to take on that challenge. We experimented with how much to blouse the shirt, and eventually created a one-piece outfit with wide pants and cuffs. To ensure the outfit wouldn’t fall apart during movement, the shirt, coat, and pants were connected with snaps. But too many snaps would look unnatural, so we used straps at the waist between the shirt and coat to secure things while maintaining some fluidity. The coat includes paneling from the back down to the waist. To keep this part soft, the seam allowances were hand-finished. It’s not a standard A-line coat—it flares only below the waist and has volume in the front. This construction was designed to prevent the back from puffing out when catching the wind."

The gold costume on P.25 took the most time to develop in the pursuit of visual beauty on the ice.

"We were told by Hanyu’s team and MIKIKO-sensei that they wanted the fabric to look like wings when the arms were spread out. Based on MIKIKO-sensei’s image of something ‘ritualistic and mystical,’ we began designing. The first version used too much fabric and didn’t spread out beautifully when skating. After many trials, we eventually added air vents and slits to all the seam transitions in the coat’s hem to let the wind pass through. The fabric used is the lightest silk organza. A belt was added around the waist on the inside of the coat, along with boning down the center back and symmetrically on either side. This allowed the back and waist to be held tightly so the upper body axis wouldn’t shift. Holding the areas with boning on either side of the back lets the wings unfold into a full 360-degree spread. A magnet was embedded at the waist so the fabric would settle naturally once released. MIKIKO-sensei also suggested flaring the silhouette of the all-in-one pants so they’d float softly when spinning, and I think that turned out very well."

"Creating beautiful costumes that move gracefully under intense wind speeds and pressure required a different set of skills than for dancewear. Our whole atelier put everything we had into trying various techniques. Hanyu-san, with just a short time for costume fittings, instantly made the outfits his own. He expressed himself in ways that moved everyone while remaining thoughtful toward all the staff—he truly is an extraordinary person. Actually, we had considered adding fabric floral decorations to the gold costume, but in the end, we kept only the embroidery around the chest, resulting in that simple design. Looking back, the heart of these costumes was all about 'ease of movement' and 'dynamic proportions.' The true role of a costume was to bring out the full brilliance of Hanyu-san’s skating. If we were able to help realize that world, then nothing could make me happier."

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Toshihiko Sakurai
Founder of SAQULAI. Graduated from Bunka Fashion College’s Apparel Design Department in 1991. Since around 1992, he has specialized in costume production. At his atelier, each piece is individually designed, modeled, and crafted. His work includes costumes for artists like Perfume, Sheena Ringo, YUKI, Mirai Moriyama, stage costumes for Shiki Theatre Company, numerous film costumes, and even outfits for the closing ceremony of the Rio Olympics. His Spring/Summer 2024 collection was also presented in New York.

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(P.25)

[Photo: Utai iv costume]

Costume 5. 

Glittering with gold, flapping across the ice, like wings