[2025.04.03] KISS & CRY -THE STAGE4-

[yuzurujenn]

KISS & CRY special edition Yuzuru Hanyu-THE STAGE4-

 

Info: 

https://zasshi.tv/products/50578/ 

https://www.amazon.co.jp/KISS-CRY特別編集-羽生結弦―-STAGE４―-TOKYO-NEWS/dp/4867019739/

 

 

An exclusive interview with Yuzuru Hanyu!
"Echoes of Life", "notte stellata 2025"...

What will he have to say in his third season as a professional figure skater? The gorgeous photo shoot comes with powerful B4 and B3 pinups! In addition to reports on the opening and closing performances of "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR", which Hanyu held following "GIFT" and "RE_PRAY" , there are also plenty of reports on Hanyu's performances, such as "notte stellata 2025", "Noto Peninsula Reconstruction Charity Performance", and "Fantasy on Ice 2024" . Enjoy the increased pages and the powerful appearance of Hanyu. (Content is subject to change)

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: 20250403 KISS & CRY -THE STAGE4-

 

Special Interview: Jeffrey Buttle
"Piano Collection" and "Ballade No. 1"

 

"Piano Collection" and "Ballade No. 1" are among the highlights of the "Echoes of Life" TOUR. We spoke to Jeffrey Buttle, who choreographed the piece, about the piece.

 

Interview and text by Akiko Tamura

 

Spoiler

"Piano Collection" created with full use of creativity

 

— I heard that you were in charge of the choreography for the Piano Collection in the ‘Echoes of Life’ TOUR. How did you come to be in charge?

I was contacted directly by Yuzu, and he asked me, ‘I want you to choreograph a medley of short piano pieces.’ He gave me a list of the pieces, and among them were some that reminded me of Chopin’s ‘Ballade No. 1,’ which I had choreographed for him before. He specified some elements he wanted to include, like ‘I want to put a quad toe loop here,’ but otherwise he told me to just have fun choreographing however I wanted. Unlike competitive programs, which have many rules and restrictions, I was able to use my creativity to the fullest. It had been a while since I received a request from him, so I was very happy and honoured. 

 

— Was there an explanation of the concept of this ice show?

I heard that the theme was about the past, present, and future. And Yuzu explained to me that he wanted to express a personal timeline. 

 

— Was the idea of a medley of piano pieces something that came from Hanyu?

Yes, the idea of using many small pieces was his. When I received the request, the first thing I asked was at what part of the show and in what way the choreography would be used. That’s because the choreography I create is never easy and takes quite a bit of physical stamina, so I wanted to confirm where in the overall show it would be performed. I know he has extraordinary stamina, but still... 

 

— What was the choreography process like?

Since I couldn’t go to Japan, we exchanged videos. First, I sent him a video of me skating, and in return I received a video from Yuzu with a much higher level of performance than mine (laughs). We kept going back and forth like that. Basically, we worked on it through emails, conversations, and videos. We had worked this way a few times before, so it wasn’t a problem.

 

— What was the most important aspect you focused on while choreographing?

The most important thing was ‘how to express the emotions conveyed by each piece of music.’ I especially focused on the connecting steps, which are the foundation of skating. This is very important in figure skating, and it was an enjoyable process. Since I couldn’t film myself skating, I asked Yonathan Elizarov, a Canadian pair skater who was also a representative at the World Junior Championships, to help and actually perform it. When I showed him the video that Yuzu sent back, he was amazed at how high the quality was. It was very fun to have a future champion participate in this process.

 

 — The arrangement was done by pianist Shinya Kiyozuka. Do you know him?

I didn't know him, but he's a pianist who has worked with Yuzu for many years in various places. It was a very good arrangement and I think it's a wonderful collaboration.

 

— Have you actually seen the show?
Actually, I was sent a video, but I couldn’t download it properly. Right now, I’m waiting for a new download link, so I’ve only seen part of it so far.

 

Ballade No. 1" that matures and evolves

 

— He also performed "Ballade No. 1," which you choreographed.

I saw that part! It's not a simple piece, so I can't believe he performed it at the end of the piano medley. What kind of physical strength does he really have? I can't imagine it.

 

— Hanyu has continued to perform the program you choreographed during his competitive years even after turning professional. How do you feel about the changes in his performance?

It’s such an honor that he’s still performing programs I choreographed. What’s amazing about Yuzu is that he continues to evolve mentally and artistically. It’s similar to when Joni Mitchell sings her older songs. It carries a different flavour than when she was younger. Yuzu is the same. When he performs an old program now, you can clearly see how much he’s evolved and matured both as a skater and as a person. The way he expresses subtle nuances in the music, the way he handles every note, it all keeps changing, and it’s mesmerizing to watch.

 

— Since retiring from competition, Hanyu has continuously produced solo shows. What do you think about that?

I’ve never heard of anyone performing an ice show entirely alone from start to finish. But since I know Yuzu well, it wasn’t all that unexpected. He has the ability and special talent to captivate an audience for two and a half hours. I hope the audience understands just how special an experience it is to see his show. Honestly, except for Yuzu, I don’t think we’ll see another show like this again anytime soon. Performing continuously for two hours on the ice is on a completely different level from a concert. It’s a special talent, a gift. Usually, including myself, athletes stop training at a competitive level after retiring. But Yuzu has kept at it, and that’s why he’s capable of something like this.

 

— If you could freely choose, what pieces would you like to choreograph for Yuzu?

Actually, I already have a few pieces in mind. One is Alexander Scriabin’s Symphony No. 4, Poem of Ecstasy. There’s music that, when you listen to it, brings an image of a skater to mind, and sometimes you think, ‘Only that skater could skate to this.’ I came across this piece back when I was still competing and looking for music, but I thought it would be impossible for me to skate to it. But I’ve always kept it in my heart. And I think Yuzu could definitely pull it off. The other is the final movement of Ottorino Respighi’s symphonic poem “Pines of Rome.” The melody builds more and more, getting bigger and bigger, so it’s a piece that can’t be performed unless you have unbelievable stamina. I think Yuzu has that ability. If I ever get the opportunity, I would love to choreograph these pieces for him.

 

— Hanyu recently celebrated his 30th birthday. What does the age 30 mean for a figure skater?

Personally, turning 30 wasn’t an issue for me. It was turning 20 that scared me the most. Like gymnastics, figure skating is often seen as a sport where youth is an advantage. If you have talent, people say, ‘Wow, he can already jump like that at such a young age.’ But when I was 20, I hadn’t achieved much as a skater yet, so I was afraid. But later I understood that each skater grows at their own pace. I hope Yuzu feels pride not only in how much he’s achieved, but also in how much he’s contributed to the sport as a whole. And to think that someone who’s achieved so much is still only 30 is actually surprising.

 

— You became a world champion at 25, right?

Yes. Then I retired at 26. At 30, I was doing what I wanted, and it was a very fulfilling time. I had always loved skating, but I didn’t really enjoy competing. So being able to focus on tours and ice shows at 30 was a very happy time for me.

 

— What are your goals for this year?
It’s hard to say something specific, but to keep doing what makes me feel happy. Besides choreography, I’m also working as a coach now. People have to make choices every day, and with any choice comes challenges. There are fun times, and not-so-fun times. But I think it’s important to listen to your heart and go in the direction you truly want.

 

— Thank you. Lastly, could you give a message to Hanyu?

What Yuzu has accomplished is the result of his own hard work and passion, and I’m very proud that he still shares that passion with people even now. He could have chosen to retire and live an easier life. But he keeps pushing himself, continues making effort, continues growing. I think he is a true icon.

 

 

PROFILE
Born September 1, 1982, from Canada. Won the World Championship in 2008. After retiring, he is active as a professional skater and choreographer.

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: 20250403 KISS & CRY -THE STAGE4-

 

Special Interview: Costume Designer Taketoshi Hara
The Costume Is the Only Stage Device

 

In the Haier/AQUA commercial, Yuzuru Hanyu’s blue and white costumes became a big topic. We interviewed the designer, Taketoshi Hara, who worked on them, and asked about the design concepts and behind-the-scenes episodes.

 

Spoiler

Attention to detail in the two costumes, "Blue Hanyu" and "White Hanyu"

 

— How did you come to be involved in this project?

“I was approached around last autumn, but initially it wasn’t a costume-making request. It was for styling coordination. However, Haier/AQUA already had a clear image at that point, and as the discussions progressed, it became ‘let’s make something new rather than using existing pieces.’ At first, I was relaxed and excited thinking, ‘I get to see Hanyu skate up close again!’ But suddenly, I was tasked with creating two costumes in a short time, which was quite tough (laughs). The actual production period was about three weeks. While they were checking one design, I was simultaneously brainstorming the second. It was probably the tightest schedule I’ve ever worked on. Still, on the pure white ice, the costume is the only stage device, and since it’s for a commercial that has to leave a lasting impression, I tackled the project with a sense of purpose.”

 

— How did the production process go?

“I always get design ideas from music, so I asked the creative team, ‘Please tell me as soon as possible what kind of music will be used.’ Sometimes the commercial’s music is finalized only in post-production, near the end, but for me, music is crucial. So they kindly sent me the updated audio tracks each time the arrangement was revised, and I repeatedly listened and refined the design accordingly.”

 

— Can you explain the concept behind each costume?

“The blue costume is based on Haier’s corporate colour, a deep royal blue. The idea started from fusing something classical and noble with something technical. I drew inspiration from gemstones like lapis lazuli and European luxury cars like Lamborghinis and Ferraris. The commercial’s music blended string sounds with a modern EDM feel, similar to a movie or game soundtrack. So, instead of only going for a sharp, classical look, I incorporated elements inspired by unisex clothing from artisan brands (indie brands). I also wanted to bring out a strong sense of figure skating, so I included rhinestones. I personally decided on the placement of the shoulder stones and attached them by hand. Interestingly, the central motif on the blue costume’s shoulder is the same as the front motif on the white costume. Although the two outfits look very different, I made sure there were subtle links between them.”

 

— And the white costume?

“Since the blue costume is asymmetrical, I deliberately designed the white one to be symmetrical as a contrast. For example, the blue has pleats on the right side, while the white gathers tucks centrally around the button line to create dimension and nuance. Also, strictly speaking, the colour isn’t pure white. It’s a very pale, icy blue. Pure white can look bland, and because the rink itself is white, it lacks contrast and tends to blend in. By adding a hint of blue, I aimed for a transparent, dignified atmosphere. If you look closely at still shots on the rink, you can just make out the bluish tint. The silhouette combines soft bridal and Chinese garment elements, plus an image of clergy or sacred robes. The details of the decoration are based on custom-made jewellery, minerals, and European cathedrals."

 

— What were the biggest challenges?

“The storyboards we received in advance showed a scene where Hanyu would jump, and I thought, ‘If it’s Hanyu, he’ll definitely go for a triple axel or a quad.’ Since we could only do fittings on the day of shooting, I was anxious about whether I could make something that could keep up with his movements, but I was familiar with his size, so somehow I managed. To ensure the garment didn’t restrict his movement, I made it fully stretchable, but at the same time, I fine-tuned the shoulder pads and the inner structure to preserve a tight, jacket-like silhouette.”

 

 

The Joy of a Designer Felt During Filming

 

— How was Haier/AQUA’s reaction?

“They were thrilled, saying things like, ‘It’s exactly what we imagined, no, even better!’ I think Haier/AQUA’s products stand out for their design emphasis, and it was the same with the costume direction, making this a very rewarding job. I'm proud that I was able to do a good job.”

 

— Any behind-the-scenes stories from the shoot?

“Usually, there’s a set place on the rink where Hanyu does his quad jumps, but because this was shot on a green screen for compositing, he had to jump right in the center. It looked tricky to time, so Hanyu said, ‘Let me adjust!’ and tried again and again. Also, since we used real rhinestones, the costumes were a bit heavy. It's a spot where he doesn't usually jump, and it's his first time wearing the costume, but I was impressed by his professionalism in completing the quadruple jump within the allocated time. Also, the white costume’s sleeves are made of an unusual draping tulle material, attached in a way we’d never used before, and Hanyu commented, ‘This is unusual,’ showing interest. He tested the air resistance when jumping and said, ‘Maybe I should hold this part when I jump.’ As always, I’m amazed at how skillfully he ‘tames’ his costumes.”

 

— It feels like it’s been a while since we’ve seen Hanyu skating on the rink in a commercial.

“That’s true. Hanyu is an all-rounder who can do anything, but for me, seeing him perform on ice is what moves my heart the most. Having him appear in a commercial and reaching people who might not be interested in figure skating, and knowing that my costume is involved in that, makes me very happy. This time, with special permission, the staff, including me, were allowed onto the rink to adjust the costumes during filming. I have been involved in figure skating for about 10 years, but I have only been allowed inside the rink a few times. I was very nervous because I know how sacred that place is. Seeing Hanyu skate from the closest possible distance, I was so moved I almost teared up. Standing in the middle of the rink, it feels wider and colder than it looks from outside. I felt an indescribable emotion, thinking, ‘The skater stands here all alone…’”

 

— Thank you. Last question. What does "making costumes for Hanyu Yuzuru" mean to you as a designer?

"There are two costumes this time, one blue and one white, but when Hanyu puts them on, he truly becomes 'Yuzuru Hanyu in that costume.' It's like he turns into a completely different person. He ‘communicates’ with the costumes I’ve created and brings an entire world to life. That was the case this time as well. Honestly, he’s probably the only person who gives me that kind of feeling. Of course, there's a lot of pressure and many challenges involved, but seeing a piece of work I poured my soul into be elevated beyond what I even imagined is deeply moving. Every project I’ve done with Hanyu becomes a cherished memory. If I can continue creating costumes for him in the future, it would be a true honor."

 

 

PROFILE
Born in Kanagawa Prefecture. While designing costumes for many top figure skaters, he also has a career as a guitarist. Instagram: @taketoshihara

The asymmetrical blue costume
Combining a structured image with the elegance unique to figure skating. The design of the blue costume was inspired by minerals and high-end European cars.

The white costume featuring a blend of various fashion elements
A balance of gentleness and purity. In contrast to the blue, the white costume was designed with symmetry in mind. Detailed touches were added to avoid it looking flat or plain.
 

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: 20250403 KISS & CRY -THE STAGE4-

 

Special Interview: A fateful encounter with Nova

— About the “Echoes of Life” TOUR —

 

On December 7 last year, Yuzuru Hanyu turned 30. Now in his third season as a professional skater, his presence continues to grow. We spoke to him about his latest tour, the “Echoes of Life” TOUR.

 

Spoiler

"I want to treasure what moves my heart the most."

 

ECHOES OF LIFE, which grew together with Nova

 

— The “Yuzuru Hanyu ICE STORY 3rd 'ECHOES OF LIFE' TOUR”, which opened at Saitama Super Arena in December 2024, is the third installment of the “ICE STORY” series, following 2023’s “GIFT” and the 2023–24 “RE_PRAY”. With each installment, the depth of the storytelling has increased, and its power to captivate the audience as entertainment seems to have become stronger. What’s more, you not only perform on the ice, but you yourself craft the story of the work, making full use of video and lighting effects. Where do you get your inspiration for this?

“To begin with, I don’t have a lot of knowledge, and I often think of myself as ‘kind of shallow.’ I’m not the type to read a lot of books, nor have I been deeply exposed to things like films, ballet, or musicals. I do feel a bit of a complex about that. So honestly, when I’m weaving a story, I’m always groping in the dark, wondering, ‘What would be good?’ But when it comes to ‘showing’ something, I believe I must prioritize what I personally think is good, and I always want to cherish the things that move my own heart the most. So, I absorb various elements from what has moved me throughout my life and express them in my own words. That’s the kind of work I always do in ICE STORY.”

 

— One of the striking aspects of “Echoes of Life” this time was setting up a protagonist named Nova, and placing the journey of how Nova walks through life at the center of the story. How did you bring him to life? And did you make any discoveries by performing a protagonist you yourself created?

“Up until now, in “ICE STORY,” there was “GIFT” and “RE_PRAY,” but if you ask whether the protagonist of “RE_PRAY” was Yuzuru Hanyu, that’s a little different. That was more like a protagonist in a game — a story drawn through the data of a character itself. So this time, in order to clearly express that ‘this is not Yuzuru Hanyu,’ I gave the character a name and built the character from there. 

 

In the past, when performing various programs — for example, SEIMEI (free program in the 2015–16 season, among others) — at first it’s about projecting the figure of Seimei, Abe no Seimei, the legendary figure who’s been adapted over and over in various works. While performing, I had to inhabit that character. But after repeating the program many, many times, not only the Seimei character but gradually more of Yuzuru Hanyu himself began to seep in. In programs I’ve practiced to the point of being satisfied, I feel as if the character and Yuzuru Hanyu have become almost the same person.”

 

“By absorbing the atmosphere of the venue, Nova grew.”

 

— So did the character of Nova also change as you continued performing?

“At the Saitama performance, I was doing it with the thought, ‘This child is Nova,’ but as the performances continued, including new programs, Yuzuru Hanyu started to show through. And as Yuzuru Hanyu started to appear, Nova’s personality became more and more prominent — this repeated itself.

The emotions I had for the character Nova, the backstory, and the things I’d packed into him became bigger and bigger. I don’t know if ‘possessed’ is quite the right word, but I feel like Nova’s story was completed more and more. Unless a little bit of Yuzuru Hanyu entered in, Nova couldn’t grow bigger. By taking in the emotions of the real human being Yuzuru Hanyu, and the air of each “ICE STORY” performance, I think Nova was able to grow.

 

The words in the story come from within myself — they’re words I already know — so it’s not like, ‘I changed because I met Nova.’ But by performing Nova, I’ve learned a lot. Gradually, I began to feel, ‘Maybe Nova actually thought this,’ or, ‘I gave Nova a personality and created him, but maybe there were even more layers to him.’ That’s how I felt as I skated. As the performances went on, I grew more attached to Nova, and I think he became more and more human.”

 

— Echoes of Life” was a big success, not only in audience numbers at venues and live viewings, but also in terms of reactions beyond just the numbers. If we set your July 2022 press conference announcing your decision (to go pro) as the starting point, then 2024–25, when “Echoes of Life” was released, is your third season as a professional. Though the third season isn’t over yet, how do you look back on this past year?

“I think it was a year where I absorbed a lot of new things. For myself, I had taken ballet lessons for about three months before, but I had never properly trained. I was the kind of person who would watch dances I liked and imitate them, or learn choreography from a choreographer and just try to dance the same way. That was the only approach I’d ever taken.

This time, working with MIKIKO-sensei, who’s responsible for the choreography of Echoes of Life, I gradually learned the basics of stage performance, and I feel like I’ve finally come to understand the ‘theory’ behind things I’d just been doing recklessly until now. And I sense that this new knowledge has started to influence my physical expression as well.”

 

"To get closer to my ideal image"

 

Unchanging thoughts about the disaster-stricken areas and what lies ahead

 

— In March, you’ll have “notte stellata 2025,” marking its third edition (this interview was conducted in January). Not limited to “notte stellata,” which carries the intent of sending out hope from the disaster-affected regions, you’ve also been actively involved in support efforts — for example, last September you participated in the Noto Peninsula Reconstruction Support Charity Performance. Could you share once again the feelings you put into these activities?

“It feels like I’ve been constantly running. I’ve really been supported by others, and I’ve encountered various thoughts and emotions from those who are working hard. And all along, I’ve been thinking, ‘In the end, figure skating itself can’t directly do something, can it?’ That’s why, I’ve been pouring a lot of effort into thinking hard: ‘How can I offer support?’ ‘What is it that I can actually do?’ while also pushing forward with my support activities."

 

— In December of last year, you celebrated your 30th birthday. Do you have a vision of what you’d like to achieve moving forward?

“Hmm... I wonder. I’m always giving everything I’ve got, so... Even with ICE STORY, I expressed it thinking, ‘I have no regrets.’ So there’s nothing specific that I want to do just because I’m 30, but through ‘RE-PRAY’ and ‘Echoes of Life,’ I finally feel like the image I have in my mind is starting to match what my body can express. Right now, while deepening my knowledge of the things I want to explore further, I feel that I must continue to absorb various things in order to get closer to the image I envision as my ideal."

 

 

Mini Talk Corner

— By the way, I heard that you like the Monster Hunter series. The latest game, Monster Hunter Wilds, is being released at the end of February.

"Well, I still have ‘notte stellata’ to do... But I might play a little (laughs)."

 

— Will you be using the Charge Blade (your favorite weapon) again in this game?

"Of course! 'Charge Blade' is the only way to go! (laughs)"

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: 20250403 KISS & CRY -THE STAGE4-

Special Interview: Yuzuru Hanyu × Haier / AQUA
A Resonance with the Unrelenting Spirit of “Challenge”

 

Yuzuru Hanyu has been appointed as brand ambassador for the home appliance brands Haier and AQUA. We spoke with Mr. Kazuaki Kajiyama, Executive Officer and CSO, Head of Strategy at AQUA Co., Ltd.

 

Spoiler

As a “comrade-in-arms” who keeps the flame of the soul burning

— Please tell us how Yuzuru Hanyu came to be appointed as brand ambassador.
“Hanyu-san is a figure skater who has stood at the top of the world many times, including winning two consecutive Olympic gold medals. Yet he has never been satisfied and has constantly kept challenging himself. Even after retiring from competition and becoming a professional skater, he continues to produce innovative ice shows one after another, achieving ongoing success.
We at Haier Japan Region also have a management philosophy: ‘Even after conquering the peak before you, aim for the next summit.’ Hanyu’s attitude of constantly striving higher without being satisfied by past successes perfectly embodies this philosophy. That’s why we decided to appoint him as brand ambassador for Haier and AQUA.”

— What was the concept behind the advertising visuals this time?
"This time, we’ve taken a bold approach by having Hanyu-san represent both the Haier and AQUA brand images on his own. For Haier, rooted in the management philosophy of ‘challenge’ I just mentioned, we built the story around the keyword ‘Surpass yourself.’ In the commercial titled 'Me vs. Me,' it begins with a confrontation between the 'past Hanyu' and the 'present Hanyu,' and then the 'present Hanyu' delivers a powerful skating performance.
When filming, we requested that Hanyu show ‘strength and speed’ and express the idea of ‘never-ending challenge for new, unseen possibilities and value.’ We also worked with the costume designer to create a blue outfit that visually expresses strength, in line with the story.
On the other hand, AQUA is also based on the concept of 'challenge,' but centres around the word ‘innovation.’ This word is very important to Haier Japan. It expresses our philosophy of 'creating unprecedented new connections with people’s lives and the future,' 'allowing users to generate and share new value through using our products,' and 'delivering genuine love to our users from a place free of limitations.'
For the commercial, we requested that these ideas be conveyed in an elegant and graceful way. It seems fans are calling the two different Hanyu-sans, with the different concepts, ‘Blue Hanyu’ and ‘White Hanyu.’ We are very happy about that.”

— How did the project progress?
“We first had an online meeting where we conveyed our corporate philosophy and the concept of the commercial. After that, we conducted the actual filming, and Hanyu-san truly paid attention to details beyond what we had imagined, and the visual and commercial shoots went far over the planned schedule.”

 

— What impression did you have of Hanyu at the filming site?
“He was even more passionate than the impression you get from seeing him on TV. Even when the director and we gave the OK, Hanyu would say, ‘I’m not satisfied. Please let me do it again!’
He repeated his quadruple jumps again and again, aiming for perfection. Honestly, we were worried: ‘What if he gets injured?’ We told him, ‘It’s already more than enough, it’s okay,’ but he kept challenging himself until he was satisfied. We could feel that Hanyu was approaching this project with the determination to ‘fight alongside us,’ and it was deeply moving.”

— What kind of reactions have you received?
“We’ve received positive feedback from all stakeholders — customers, social media, business partners, and our employees.
It seems many people learned about Haier and AQUA through Hanyu, and even those who already knew of us now feel a stronger connection and greater interest in our products, services, and company. By borrowing Hanyu-san’s power, we were able to take the first step in spreading Haier / AQUA’s philosophy.”

— Have you seen Hanyu-san’s performance? Please tell us your thoughts.
“My first time was at Fantasy on Ice 2024. Watching him skate, I felt that "even though he has become a professional skater, he has not stopped evolving. His spirit of challenge is still intact." It was a powerful performance, and I got the impression that he has grown even more as a skater and as a person."

— What kinds of promotions or projects are you planning for the future?
“We want Hanyu-san to continue helping us widely convey our philosophy, and we hope he will continue to be a ‘comrade-in-arms’ who keeps the ‘flame of the soul’ burning. Although we cannot talk about it yet, please look forward to and pay attention to future developments.”

— So, you see Hanyu-san as a ‘comrade-in-arms’?
“In 2012, the AQUA brand debuted, and the following year, in 2013, we put up the Haier / AQUA signboard in Ginza, Tokyo.
At that time, our founder Zhang Ruimin sent this message to employees: ‘We were able to light neon in Ginza, one of the world’s most prestigious locations. But we must keep this light burning forever in the hearts of Japanese users as our soul.’
That feeling is something always in our hearts, and the idea of ‘firmly holding your convictions and continuing to send them out, eternally keeping the flame alive in the soul’ is something that I think resonates with Hanyu-san’s own thinking. When I think about it like that, I feel like it was not a coincidence that we found Hanyu, but rather it was inevitable."

 

[Wintek]

*machine translation, inaccuracies exist*

KISS & CRY special edition Yuzuru Hanyu -THE STAGE4-

CONTENT

1. Special Interview  Encounter with Nova - On the "Echoes of Life" TOUR
2. Ice Show Report 1 Yuzuru Hanyu ICE STORY 3rd “Echoes of Life” TOUR
3. Live Voice From the group interviews at the Saitama and Chiba shows, we bring you a carefully selected set of Hanyu’s words
4. Jeffrey Buttle - Piano Collection & Ballade
5. Ice Show Report 2: Notte Stellata
6. Message from Yuzuru
7. Live Voice: Mansai & Yuzuru
8. Special column: 3rd year of Notte
9. Special Report: Noto Peninsula Charity Performance
10. Yuzuru Hanyu × Haier / AQUA
11. Costume Designer Taketoshi Hara
12. Ice Show Report 3: Fantasy on Ice 2024 in MAKUHARI
13. Special Column: The Path of a Professional Skater

 

MACHINE TRANSLATION from Japanese to English of all the articles ON THIS LINK  if you want to read on the go (the content is the same as the translation below)

[Wintek]

Special Interview
Encounter with Nova - On the "Echoes of Life" TOUR (P.27-30)

On December 7 last year, Yuzuru Hanyu turned 30. Now in his third season as a professional skater, he continues to grow in presence. We spoke to him about his latest tour, "Echoes of Life."
Interview and text by Takaomi Matsubara

 

"I want to cherish most what moves my heart."
Echoes of Life - A Journey of Growth with Nova

 

Spoiler

— The "Yuzuru Hanyu ICE STORY 3rd 'Echoes of Life' TOUR," which opened at Saitama Super Arena in December 2023, follows 2023's "GIFT" and 2023-2024's "RE_PRAY" as the third installment of "ICE STORY." With each new work, the storytelling deepens, and its power to captivate audiences as entertainment seems to grow stronger. Not only do you perform on the ice, but you also craft the story itself using video and lighting. Where do you draw your inspiration from?

"To begin with, I don't have much knowledge, and I often think of myself as 'kind of shallow.' I'm not the type who reads a lot of books, nor have I been exposed to many things like films, ballet, or musicals. I do have a bit of a complex about that. So when I try to craft a story, to be honest, I'm always groping in the dark about 'what would be good.' But when it comes time to present something, I feel that I have to put first what I personally find good, and I always want to cherish most what moves my heart. So I absorb various elements from what has moved me in my life and express them in my own words. In "ICE STORY," that's the kind of work I'm always doing."
 

— One of the most striking aspects of this "Echoes of Life" was how you introduced a protagonist named "Nova," and centered the story around how Nova walks his path. How did you bring him to life? And by performing as the protagonist you created yourself, did you discover anything new?

"Until now, there have been 'GIFT' and 'RE_PRAY' in 'ICE STORY,' but the protagonist of 'RE_PRAY' wasn’t quite Yuzuru Hanyu himself. That one was more like a character whose data you view through the lens of a game protagonist. So this time, I gave the character a name to clearly say, 'This isn't Yuzuru Hanyu,' and I built the character that way.
 

In the past, when I performed programs like 'SEIMEI' (free program for the 2015-2016 season, among others), at first I would be playing the role of a person like (Abe) Seimei, or projecting the legendary figure as he's been portrayed in various works. I had to perform while taking on that character. But as I went through the program over and over, it wasn't just the character Seimei—Yuzuru Hanyu himself started to seep through. In programs that I was able to perform to my own satisfaction, in the end, the character and Yuzuru Hanyu began to feel almost like the same person."

— So, while performing as Nova, did you feel that changes occurred as well?
"At the Saitama performance, I was doing it thinking 'This child is Nova,' but as I included newer programs, Yuzuru Hanyu began to seep through more and more. As Yuzuru Hanyu seeped through, Nova’s persona began to appear as an even greater presence. That kept repeating. The emotions I had toward Nova, the setting, the things I had packed into him—all of that grew larger.

It might be a little different from the word 'possession,' but I felt like Nova's story became more and more complete. Without Yuzuru Hanyu, a living person, gradually going into it, Nova wouldn't have been able to grow. I think Nova grew by taking in both Yuzuru Hanyu’s emotions and the atmosphere of each "ICE STORY" performance venue.

Since the story is told in my own words, words I already know, it’s not like, 'I met Nova and everything changed.' But by performing as Nova, I gained many things. Little by little, I found myself thinking, 'Maybe Nova actually felt this way,' or 'I created and gave life to Nova's character, but maybe he had even more hidden depths.' I skated while feeling those things. As the tour progressed, I grew even more attached to Nova, and I think he became more human-like."
 

— Not only in terms of the number of audience members in the venue and the live viewings, but also in terms of the responses to the performance, "Echoes of Life" was a huge success. If we consider the July 2022 press conference where you declared your decision (to turn pro) as the starting point, the release of "Echoes of Life" in 2024-2025 marks your third season as a professional. The season isn’t over yet, but looking back on the past year, how would you describe it?

"I feel like it was a year in which I absorbed many new things. Personally, I once took ballet lessons for about three months, but I had never really studied it properly. I was the kind of person who would watch dances I liked, copy them, or learn choreography from a choreographer and try to dance the same way as them. That’s all I had ever done.

This time, with MIKIKO sensei, who choreographed for 'Echoes of Life,' I gradually learned the basics of stage performance, and I finally started to understand the 'theory' behind what I had previously just done recklessly. I feel that this new knowledge has begun to influence my physical expression as well."

Unchanging Feelings Toward the Disaster-Affected Areas and What Lies Ahead

—In March, the third notte stellata 2025 will be held (interview conducted in January). Not limited to notte stellata, which conveys a message of hope from the disaster-affected areas, you've actively taken part in various support activities—like your appearance in the Noto Peninsula Reconstruction Support Charity Performance last September. Could you share again the thoughts you put into these efforts?

“It really feels like I’ve just been running nonstop all this time. I’ve received so much support, and I’ve also come into contact with the thoughts and feelings of people who are doing their best in tough situations. And through all of that, I’ve kept thinking—‘figure skating isn’t something that can directly do something, is it?’ So, all the more, I’ve seriously kept asking myself, ‘How can I help?’ ‘What is it that I can do?’ Even while constantly thinking about that, I feel like I’ve been charging forward with these support activities too.”

—You turned 30 last December. Do you have any vision for what lies ahead?

“Hmm… I wonder. I always give everything I’ve got, so… I expressed in ICE STORY too that I feel like I don’t have any regrets or unfinished business. So it’s not like I think, ‘Now that I’m 30, I want to do this.’ But through RE_PRAY and Echoes of Life, I finally feel like my physical expression is starting to catch up to the image I’ve always wanted to achieve. Right now, I really just want to go deeper into the things I’m interested in. I feel strongly that I have to keep absorbing all kinds of things so I can get even closer to the image I’m striving for.”

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Mini Talk Corner

—By the way, we’ve heard you’re a fan of the Monster Hunter series. The latest title, Monster Hunter Wilds, is scheduled for release at the end of February.
“Well, I still have notte stellata coming up... But I might sneak in a little playtime anyway (laughs).”

—Will you be using the Charge Blade again this time? (Yuzuru’s favorite weapon)
“Of course! Nothing beats the ‘Chaak’! (laughs)”

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PROFILE
Born December 7, 1994, in Miyagi Prefecture. At the 2014 Sochi Olympics, he became the first Japanese man to win Olympic gold in figure skating. He went on to defend his title at the 2018 PyeongChang Olympics, a historic achievement, and was awarded the People's Honor Award. In 2020, he completed the Super Slam—winning all major titles across junior and senior levels, including the Olympics, World Championships, Grand Prix Final, and Four Continents. In 2022, he announced his transition to professional skating. In 2023, he became the first figure skater in history to hold a solo performance at the Tokyo Dome.

 

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Ice Show Report 1
Yuzuru Hanyu ICE STORY 3rd “Echoes of Life” TOUR (P.32)

Following 2023’s GIFT and the 2023–2024 tour of RE_PRAY, the third chapter of Yuzuru Hanyu’s ICE STORY project, Echoes of Life, began on December 7, 2024, in Saitama. This report covers the opening performance at Saitama Super Arena and the final performance held on February 9, 2025, at LaLa Arena TOKYO-BAY in Chiba

— A Story of “Life” and “Fate” Woven by Yuzuru Hanyu at 30

 

 

Spoiler

Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR is a production that features Yuzuru Hanyu both as the performer and executive producer. The tour opened at Saitama Super Arena on December 7, 2024, continued through the Hiroshima performance in January 2025, and concluded with its final show on February 9 at LaLa Arena TOKYO-BAY in Chiba.

 

Once again, the story was written by Hanyu himself. The narrative follows the journey of a protagonist named Nova, who awakens in a desolate world and sets out on a grand quest to find the meaning of life. The performance was told through dynamic visuals, narration by Hanyu, and projection mapping directed by MIKIKO. The soundtrack featured 12 diverse programs, including a “Piano Collection” performed by Shinya Kiyozuka and an arrangement of the Irish folk song “Danny Boy.”

 

The tour’s opening date—December 7, 2024—coincided with Hanyu’s 30th birthday. During the encore, the approximately 14,000 attendees filled the venue with a chorus of “Happy Birthday to You.”

 

After the final performance, Hanyu revealed:

“It’s not just about increasing range of motion or improving flexibility—I've been training to see how quickly I can recover using movements my body can actually use. Also, I started just before the Hiroshima show to focus on training that enhances the qualities that are unique to me, like suppleness and beauty. This time, I felt like it finally all came together. That’s why I now feel, in a very real way, that I can continue to grow and evolve from here.”

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“Please, believe in it, accept it, and move forward.”
Message from Yuzuru (February 9 – Chiba, Final Performance) (P.40)

Spoiler

“This ICE STORY project began with something I wrote. It all started there—an outpouring of my thoughts, my feelings, my heart, and my soul. So many things had to come together to turn it into something real like this… It was truly a massive undertaking. In an incredibly short time, at a pace that would normally be unthinkable, everyone on the production team poured in intense energy and dedication to bring this to life.

 

I ask you to give a big round of applause to the entire team—the direction and video teams, and everyone involved with the ice, lighting, cameras, stage design—every single staff member.

 

And it’s because of all of you here at this venue, those watching via live viewing, and everyone around the world who experienced Echoes of Life, that we were able to come together and create something that feels like our own child. Thank you so much for allowing us to bring this into being, for watching over it, and for supporting it.

 

I also want to thank Elevenplay, who brought the world of Echoes of Life to life through dance. Truly, thank you for everything, right up to the very end.
...So now, I feel like I’ve seen Nova off on his journey. I poured my entire soul into skating this story.

Honestly, I find it easier to express myself through skating than through words. That’s why it’s so difficult for me to say all of this in Japanese...

But this is the core of who I am: To be alive is such a natural, and yet such a miraculous thing.

In this world, there are people who are tossed about by fate, people who continue to believe in fate, people who continue to hope for a future. In such a world, I hope—even just a little—that you can feel this moment, this “now,” and realize: you are alive.
This is a story I wrote in skating and words, with the prayer that you’ll remember: You’re living more strongly than you think you are.

Echoes may be over now, but if even a small part of today, this story, my skating, the visuals, the direction, or the dance of Elevenplay becomes a moment that makes you feel like, “I want to take a step toward the future,” then that would make me so happy.

 

I know life can be painful. Life isn’t all pretty words—you probably know that better than anyone. Hardships can come out of nowhere. So can the loss of hope. This world is full of such moments.
But even so, you’re here right now. You’re watching this, listening to this. That means your very cells are alive, and I believe they’re moving with the will to keep living.

Please, believe in that. Accept it. And move forward.

I truly hope that Echoes can be a spark, a reason to keep living for someone, even just a little.

Thank you, from the bottom of my heart.”

---

“I want to believe in my own heart and my own sense of justice, and keep moving straight forward.”

Live Voice
From the group interviews at the Saitama and Chiba shows, we bring you a carefully selected set of Hanyu’s words (P.42)

Saitama Performance (Dec 7, 2024 / Saitama Super Arena)
 

Spoiler

— Please tell us your thoughts after finishing the opening day of the show.

“The strongest feeling I have is really, ‘It’s finally opened.’ I was truly nervous. Of course, I spent a lot of time on practice and training, but still, until it’s actually the real thing, until I skate in front of everyone, there’s a part where I don’t really know whether it’ll be a success or a failure. So I’m feeling like, ‘It’s finally started,’ and also, above all, I feel relieved that I was able to complete the first day without injury, as a story.”

 

— This show was created with ‘living’ as its theme. Could you tell us about the thoughts you put into that?

“From a young age, I’ve been thinking about things like bioethics, and I also took courses on it in university, and through all that, I came to be interested in the philosophy of what it means to live. From there, there were thoughts and theories that had been swirling around inside me, and I went back and studied them again. Because of the way the world is now, I wanted this show to become something that would let everyone come up with their own answers—philosophies—about what it means to live. That’s why I wrote Echoes of Life.”

 

— The main character’s ability to ‘turn letters into sound’ was very striking. How did that idea come about?

“There are people who think of the color ‘red’ as ‘passion,’ and others who take it as ‘fear.’ That’s something open to interpretation. But ever since I was little, I’ve always been the type who could hear those kinds of things as sound. It’s not like I have perfect pitch or anything, but it kind of felt like I could hear it as a sort of melody. Like ‘philosophy entering the body as sound,’ and then that philosophy becoming music, which then becomes a program—that sort of thing. I wrote it while letting my imagination leap like that.”

 

— What are your thoughts now that you’ve turned 30?

“When I compare the image I had of being in my 30s when I was a kid with how I actually feel now physically and mentally, I think, ‘It’s not how I imagined.’ I still feel like, ‘I can keep going.’ In Echoes, there’s a part like ‘What is the future?’ ‘What is the past?’—and the future, I think, can turn out way better than what we imagine. By giving my very best, I feel like I’ve been able to enter my 30s in a way that’s different from when I used to think, ‘30’s like a middle-aged guy.’”

 

— What are your aspirations for your 30s?

“In my mind, I vaguely had this image of ‘As a figure skater, I’ll probably start declining with age.’ But when I tried thinking about it in terms of baseball or soccer or something, I realized that maybe it’s only now that my experiences, my senses, and my skills are really starting to ripen. So I want to go into practice, training, and each performance while always holding onto the feeling of, ‘I’ll definitely seize the chance,’ and having hope for my own future.”

 

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Chiba Performance (Feb 9, 2025 / LaLa arena TOKYO-BAY)

Spoiler

— Please tell us how you feel now that the Echoes of Life TOUR has finished.

“More than anything, I just feel like, ‘I did my best.’ And also, when it comes to this thing called ‘ICE STORY,’ the number of people who’ve been involved has really been on a scale you almost never see. I’m filled with gratitude for just how many people have moved and worked for my sake.”

 

— How would you rate the level of completion for yourself?

“I was able to end it feeling like, ‘There’s nothing more I could have done,’ so I’m kind of in a daze right now… But things like words and writing alone can’t fully express it for me. And even with just skating, I still don’t think this ‘ICE STORY’ is something that can be fully expressed. I believe it’s truly one of a kind. The fact that today’s performance, direction, and story can remain in video form like this, and that they can remain in the memories of those who came and watched—that makes me feel really, really happy.”

 

— In the past, you said ‘Skating = living.’ As you move toward the future, what kind of way of living do you want to show?

“Through writing this story, and actually completing the tour, something that really sank into my heart was, ‘In the end, nobody knows what the future holds.’ That’s something I felt very strongly. It was the same for the Beijing Olympics—no matter how hard you try, there are times you feel like, ‘I still didn’t get rewarded.’ Even if you do a good deed every day, and keep on doing good things, misfortune can still happen—that’s what the future is. So, I can’t simply say, ‘This is how I want to live.’ But at the very least, I want to believe in the ‘now’ that I’m alive in, believe in my own heart and my own sense of justice, and move straight forward.”

 

— From ICE STORY 1 to 3, it felt like ‘loneliness’ has always been a source of inspiration. With all your experiences now, what does ‘loneliness’ mean to you?

“I don’t really think of it as ‘loneliness’ that much. But, when there are times I have to fight… of course, I think loneliness is something that every human being has. We can’t share everything. That’s a very sad thing, but we can’t fully share our pain or our joy with others. That makes me feel like, ‘Everyone’s lonely in their own way.’ But that’s exactly why we use language—why we use writing. Even if you’re the only one in that world, as long as there are things like letters, records, and sound, then you’re not alone—that’s what I tried to express through Nova, the main character this time. Recently, I don’t really feel ‘lonely’ much myself, but toward the little bits of loneliness that exist in people, the kinds that others might not notice, I expressed them with a feeling of, ‘Hey, it’s okay.’”

---

Special Interview
Jeffrey Buttle
"Piano Collection^[1]" & "Ballade No. 1". (P. 44-45)
 

We spoke with choreographer Jeffrey Buttle about his work on two highlights of the "Echoes of Life" TOUR - "Piano Collection" and "Ballade No. 1".
Interview & Text: Akiko Tamura

 

Spoiler

PROFILE
Born September 1, 1982 in Canada. 2008 World Champion. Currently active as professional skater and choreographer after retirement.

Creating "Piano Collection" with Full Creative Freedom

 

Q: We heard you choreographed the "Piano Collection" for "Echoes of Life" TOUR. How did this come about?

"Yuzu contacted me directly asking to choreograph a medley of short piano pieces. He provided a list of songs, including some reminiscent of Chopin's 'Ballade No. 1' which I had choreographed before. He specified certain elements like 'I want to include a quadruple toe loop here,' but otherwise gave me complete creative freedom. Unlike competitive programs with many rules and restrictions, I could fully utilize my creativity. It had been a while since I last worked with him, so I was very happy and honored."

 

Q: Was there any explanation about the show's concept?

"I heard the theme was about past, present, and future. Yuzu explained he wanted to 'express a personal timeline.'"

 

Q: Was the piano medley idea Yuzuru's own?

"Using many small pieces was his idea.^[2] When I accepted the request, I first asked where and how it would be used in the show, because my choreography is never simple and requires considerable stamina. I needed to know where it would fit in the overall program. Though of course I'm aware of his exceptional stamina..."

 

Q: How was the choreography process?

"Since I couldn't go to Japan, we exchanged videos. First I sent footage of me skating, then Yuzu sent back much higher quality footage of his version (laughs). We repeated this process. We basically created it using both email conversations and video exchanges. We'd worked this way several times before, so it wasn't a problem."

 

Q: What aspects did you focus on?

"What I valued most was 'how to express the emotions conveyed by each piece of music.' I paid particular attention to connecting steps - these are very important in figure skating and it was an enjoyable process. Since I couldn't film myself skating, I had Canadian pair skater Jonathan Elizarov, who competed at World Juniors, perform it for me. When I showed him Yuzu's returned footage, he was amazed by the incredible quality. Having this future champion participate in the process was really fun."

 

Q: The arrangement was done by pianist Shinya Kiyozuka. Did you know him?

"I didn't, but I understand he's a pianist who's collaborated with Yuzu in various ways for many years. It was wonderful arrangement and I think it's a great collaboration."

 

Q: Did you actually see the show?

"I was sent a video but couldn't download it properly. I'm waiting for a new download link now and have only seen parts of it."

 

The Maturing and Evolving "Ballade No. 1"

 

Q: We heard Yuzuru also performed "Ballade No. 1" which you choreographed.

"I saw that part! It's unbelievable he performs such a complex piece at the end of the piano medley. I can't fathom what kind of stamina he has."

 

Q: Yuzuru continues performing programs you choreographed during his competitive days in his shows now as a pro. How do you feel about how his performances have changed?

"I'm very honored he still performs my programs. What's amazing about Yuzu is that he's evolving both mentally and as an artist. Like how Joni Mitchell's songs sound different when she sings them now compared to her youth - it's the same with Yuzu. When he performs old programs now, you can clearly see how much he's grown both as a skater and person. The subtle changes in how he expresses musical nuances are fascinating to watch."

 

Q: What do you think about Yuzuru producing his own solo shows since retiring from competition?

"I've never heard of anyone performing a full show alone from start to finish before. But knowing Yuzu well, it wasn't completely unexpected. He has that special talent to captivate an audience for two and a half hours. I hope audiences realize how unique an experience his shows are. Other than Yuzu, I don't think we'll see shows like this again anytime soon. Performing for two hours straight on ice is on a whole different level from concerts. It takes special talent - a true gift. Most skaters, myself included, usually stop training at competitive level after retirement. But Yuzu continues, which is why he can do this."

Looking to the Future

Q: If you could freely choose, is there any music you'd like to choreograph for Yuzuru?

"I actually have a few pieces in mind. One is Alexander Scriabin's Symphony No. 4 "The Poem of Ecstasy." Some music immediately conjures images of certain skaters performing it, and some pieces make you think 'only that skater could perform this.' I encountered this piece when I was still competing and looking for music, and thought I could never skate to it myself. But I've kept it close to my heart, thinking Yuzu could probably master it. Another is the final movement of Ottorino Respighi's "Pines of Rome." The melody keeps building bigger and bigger, requiring unbelievable stamina - which I think Yuzu has. I'd love to choreograph these for him someday if the opportunity arises."

 

Q: Yuzuru recently turned 30. What does age 30 mean for a skater?

"Personally, turning 30 wasn't problematic at all for me. Turning 20 was actually scarier. Figure skating is often seen as favoring youth like gymnastics does. When you're talented, people notice - 'Look at these jumps at such a young age.' But when I turned 20, I was terrified I hadn't accomplished much as a skater yet. Later I realized every skater develops at their own pace. I hope Yuzu takes pride not just in his own achievements but in his contributions to the sport as a whole. Actually, it's surprising he's accomplished so much by just 30."

 

Q: You became World Champion at 25, right?

"Yes. And I retired from competition at 25. At 30, I was doing what I loved and felt very fulfilled. I always loved skating but didn't particularly enjoy competing, so my 30s focused on ice show tours were very happy times."

 

Q: What are your goals this year?

"It's hard to specify, but to continue doing what makes me happy. Besides choreography, I'm now also working as a coach. We make choices every day, and every choice comes with struggles. There are enjoyable times and less enjoyable ones. But it's important to listen to your inner voice and move in the direction you truly desire."

 

Q: Finally, a message for Yuzuru?

"I'm so proud that what Yuzu has achieved comes from his own efforts and passion, and that he continues sharing that passion with people. He could have retired and taken it easy, but he keeps pushing himself, growing without sparing any effort. He's a true icon."

 

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"Notte Stellata"
The exhibition program "Notte Stellata," which also lends its name to the show itself. Performed to a piece titled in Italian meaning "Starry Night Sky," it was dedicated as a prayer for repose.

 

Ice Show Report 2:
Yuzuru Hanyu Notte Stellata 2025 (P.46)

From March 7th to 9th, 2025, "Yuzuru Hanyu Notte Stellata 2025" was held at Sekisui Heim Super Arena in Miyagi. Together with fellow professional skaters and special guest Mansai Nomura, Yuzuru brought hope to the disaster-stricken region.

 

Yuzuru Hanyu × Mansai Nomura: A Dance of Prayer by Seekers of Truth

Spoiler

Now in its third year, "Yuzuru Hanyu Notte Stellata" is an annual ice show held every March, born from Yuzuru's heartfelt wish that "it might bring hope and spark even a small smile"—a wish rooted in his own experience of the disaster in his hometown of Sendai. As with last year, the show featured Javier Fernández, Jason Brown, Shae-Lynn Bourne-Turok, Satoko Miyahara, Akiko Suzuki, Keiji Tanaka, Takahito Mura, Rika Hongo, and Violetta Afanasieva (hoop performance). And as a special guest, kyogen actor Mansai Nomura was invited.

 

In Act I, Nomura solemnly performed his solo piece "MANSAI Boléro"—which he originally created to express themes of "repose" and "rebirth"—as a special ice version in collaboration with the skaters. Then, in Act II, Yuzuru and Nomura gave a powerful joint performance of "SEIMEI," using music from the film Onmyoji, where Nomura played the lead role of Abe no Seimei. While honoring tradition, the two continued to challenge themselves, refining their respective arts. The audience responded with a standing ovation to this collaboration between dedicated seekers.

 

In a press interview, Yuzuru commented, "I felt a constant sense of (Nomura’s) dignity behind me the whole time—I was so nervous it felt like the Olympics again." He added with a smile, "Seeing the audience clapping and cheering, I felt again that everyone is truly alive, right here in this moment. Just as we rose up after the disaster, I hope this kind of bond can continue to grow."

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"MANSAI Boléro × Notte Stellata" (P.48)

As Nomura performed solemnly on a specially constructed stage at the center of the rink, Yuzuru and six skaters brought the performance to life with dynamic movement. In the final moment, Nomura and Yuzuru leapt high into the air simultaneously, expressing "a flight from death toward new life."

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"SEIMEI" (P.53)

With Nomura’s dramatic chant of "Heaven, Earth, Human" and "Appear, Yuzuru Hanyu," Yuzuru emerged as a shikigami (spirit messenger). Amidst an atmosphere of tension, he landed a brilliant combination of a quadruple salchow and a quadruple toe loop.

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 On "Notte Stellata" (P.55)

“The phrase "notte stellata" means "a sky full of stars." On March 11, 2011—the day when so many people lost so much and so much was destroyed—the night sky we looked up at was incredibly beautiful.

It’s not as simple as saying that we were given hope from those stars. But somehow, that memory of "how beautiful the sky was" has become something very, very precious to me.

Like those small, fleeting, yet somehow shining stars, each of us skaters here hopes to shine in our own way, to become a star for someone.

Sometimes there’s loneliness, sometimes pain. There may be times when memories bring back sorrow.

But we are here, and with all our soul, we skate in prayer—for everything that has been lost, and for everything that still lives on.”

---

"Haru yo, Koi (Spring, Come)"

A program Yuzuru has performed many times as a tribute to recovery, "Haru yo, Koi" was delivered once again. Set to the gentle and poignant piano of Shinya Kiyozuka, his performance conveyed a tender sense of hope.

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“If this becomes the opportunity that leads you to offer support, I would be truly happy”

Message from Yuzuru Hanyu  (P.56)

 

Spoiler

“Many of the skaters are in their third year performing in this show, and they’ve been skating with deep, heartfelt emotion, fully embracing the meaning behind notte stellata, from rehearsals all the way through the show. I would like to ask once again for a big round of applause for all the skaters—and for Mansai Nomura-san as well!

 

As someone from Tohoku, from Miyagi Prefecture, from Sendai, the closer we get to the date of "3.11," the more I remember certain things, some sad memories... There are those who suffered because they had to leave their hometowns, and of course, even if someone wasn’t directly affected, there are people who watched from afar and felt deep pain too.

Whatever kind of “March 11” someone has in their life, I hope people will continue to hold it close in their hearts. And there are still many who are suffering—so please, don’t forget.

 

And if this show becomes the opportunity that leads you to offer support, I would be truly happy.  Not just for March 11. There are so many other places affected by disasters, like the Noto Peninsula and the heavy snowfalls. No matter what kind of disaster it may be, if you could offer even the smallest bit of support, it would make me really, really happy.

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Live Voice
Mansai Nomura (P. 58–59)

This was Mansai Nomura’s first time performing in an ice show. At the group press interview, he reflected on his experience collaborating with Hanyu.

Spoiler

—This was your first time participating in an ice show. What are your impressions?

"In such a large venue, I could really feel the passion and energy of the audience. When this many living people come together, the atmosphere becomes incredibly powerful. This arena (Sekisui Heim Super Arena) was once used as a temporary morgue after the Great East Japan Earthquake. That history is like a kind of legacy—something that carries both positive and painful associations. But by acknowledging and embracing all of that, we were able to share the feeling of we are alive. I think that made this a truly meaningful event."

 

—What did it mean to you to perform “MANSAI – Bolero” in this place?

"At first, I almost got overwhelmed with emotion. Just as it was about to begin, I felt something—maybe not quite a spiritual presence, but it was as if I could feel everyone’s souls... as though they were flowing into me. In a way, carrying such things is part of the mission of someone who works in kyōgen (classical comic theater). Once again, I was reminded of the kind of place this is—and of the role I’m meant to play."

 

—What was it like performing “SEIMEI” together with Yuzuru Hanyu?

"As we were creating it, I really felt how much Hanyu-san loves Onmyōji. He’d say things like, ‘It would feel more like SEIMEI if we did it this way,’ and he remembered details I had forgotten. This is the program that won him a gold medal—his monumental masterpiece. To be involved with such a significant piece is a tremendous honor for me. I’m curious how the structure came across to the audience, but even the act of drawing a pentagram on the ice carried strong meaning. In that sense, I feel like the program became something connected to March 11. I’m deeply honored to have been part of both performances."

 

—“SEIMEI” was created ten years ago. Compared to then, how do you see Hanyu-san’s growth?

"I’m truly glad. Back in 2015, when we had our conversation, what he held inside hadn’t yet taken shape in words. Of course, those qualities were already there—but he hadn’t verbalized them yet. Since then, through experience—maybe through some of my words as well—he’s gradually broken out of his shell, sprouted, and now, he’s in full bloom.

We, the older generation, age and step back. But seeing the next generation carry our hopes forward makes me incredibly happy. What I inherited from my own predecessors—my knowledge of Noh and Kyōgen, my personal experiences and feelings—Hanyu-san has received those things and turned them into something beautiful. And he’s made them part of a show with such a profound theme: requiem. That is truly remarkable.

I often say that my job is “Profession: Mansai Nomura,” so when we first met, I jokingly called him “Profession: Yuzuru Hanyu.” But today, it really hit me. Just as I carry the weight of Japan’s traditional culture, he too bears something immense. He’s not just an individual acting on his own—he’s someone who represents something far greater.

His intent, imagination, and drive go far beyond skating alone. This show was a concentrated expression of all of that. “Profession: Yuzuru Hanyu” will undoubtedly continue to accomplish great things—and that’s something I’m profoundly grateful for."

 

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Live Voice
Yuzuru Hanyu
‘MANSAI Bolero’ and ‘SEIMEI’

What are Hanyu’s thoughts about the two programs?

 

Spoiler

— Please share your impressions after the first day.

“Today, I used up almost all my physical and mental strength—as if it were the final day of a show. To that extent, I skated without letting my feelings drop for even a moment, and together with everyone here on the ice at this venue, I prayed and wished that what we do might become some kind of trigger for what we can do for 3.11 and various disasters.”

 

— How was the collaboration with Mansai-san?

“Honestly, the nervousness was intense. Especially with ‘SEIMEI,’ I always felt something like dignity behind me, and with the pressure of ‘I absolutely cannot make a mistake,’ I skated so nervously that it felt almost like the Olympics.

As for ‘Bolero,’ it was a piece I had never used before, and as a figure skater, there is of course the legendary ice dance performance from the ‘84 Sarajevo Olympics by Jane Torvill and Christopher Dean. The choreographer, Shae (Shae-Lynn Bourne-Turok), also said it was ‘very difficult.’ But with Mansai-san’s ‘Bolero,’ we included various movements and gestures, and I feel like it truly became a ‘Bolero’ that only this collaboration could create.”

 

— This is your first reunion with Mansai-san since your talk in 2015. Has your image of Mansai changed?

“I feel like we opened up to each other a little (laughs). Ten years ago, I was still really intimidated, and I think I was just endlessly nervous, and even if I wanted to absorb things, I didn’t have the capacity, so I was just upset and unsettled. But this time, having gained various experiences and having done many activities as a professional, in a way, I could stand on the same ground and speak from the same level of understanding. While keeping my focus sharp and ready, I could confront him as a professional skater. That’s what I kept in mind during our meetings.

The choreography for ‘Bolero’ was finalized here after arriving at the venue... It was gradually completed after the other skaters arrived too. When Mansai-san saw it at first, it was still far from finished, and Mansai-san was kind of like ‘What should we do?’ But as we went through it many times, Mansai-san often adapted to me, and I also thought a lot about how I should move and gesture to match Mansai-san, so it was completed through that process.”

 

— Mansai-san said about ‘SEIMEI’ that he had ‘forgotten many things.’

“Since I firmly stepped into the world of professionals and expression, I’ve thought of myself as just a junior. Collaborating with someone who carries on Japan’s traditional performing arts, especially someone outstanding in that field, is humbling. And I felt strongly that I must have skating and professional artistry suitable for that. That feeling stayed with me throughout rehearsals. For today’s performance, I’d say I scored about 50 points for now.”

 

— What does it mean to perform ‘SEIMEI’ with Mansai-san here?

“As with everyone I’ve collaborated with, I don’t just think about ‘collaborating in figure skating.’ When I met with the planners, I was thinking about what kind of guest would create a show with status and quality that anyone would say, ‘Amazing.’ From when I first launched ‘notte stellata,’ I had talked with Mansai-san about collaborating someday. Also, since ‘Bolero’ is a story of ‘requiem and rebirth,’ I thought, ‘I absolutely want to do this.’ Now that it has really become reality, honestly, it still feels somewhat like a dream or a fuzzy feeling, but I feel like we managed to approach a skating and show composition that is worthy of accepting the existence of Mansai Mansai. That’s my sense of accomplishment.”

 

— If there was a point you focused on in this ‘SEIMEI,’ please tell us.

“When performing ‘SEIMEI,’ I often skate as the motif of Abe no Seimei myself, but this time Abe no Seimei himself (Mansai) appeared, and the composition was arranged and directed with the image of a shikigami^[3] (a spirit servant) serving him. Because Abe no Seimei is a perfect and mysterious being, the shikigami must act like a shikigami—imperfect, in a sense, like ‘one who is granted power.’

They are given a role, fulfill that role, return to being a paper doll, and then are given the role again... We imagined such a story between the two of us while planning the composition. This might be a bit of a stretch, but I also felt that being part of this ‘notte stellata’ ice show and being alive now made me question again ‘what is my role in living?’”

 

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Special Column
3rd Year of notte stellata (P.60)

Alongside “ICE STORY,” “Yuzuru Hanyu notte stellata” has become a lifelong work for professional skater Yuzuru Hanyu. We look back on the third performance and explore Hanyu’s thoughts.
By Takao Matsubara

 

 

Spoiler

Unexpressed feelings/thoughts^[4] and feelings/thoughts that keep changing

From March 7 to 9, 2025, “Yuzuru Hanyu notte stellata 2025” was held. Thinking back to the first performance of the third year, here are Hanyu’s words from 2025:

 

“On March 11 each year, I have quietly skated with all my feelings — prayers, gratitude, sadness — all mixed together. But this is the first time I’ve performed in front of everyone with those emotions openly, as part of such a program. Honestly, I’m very nervous. But precisely because it’s this ‘notte stellata’ show, I hope people can feel the emotions I want to convey, see new aspects of the program, the feelings, the themes, and so on.”

 

Since then, without losing that spirit, the show has continued and became a realization of a long-cherished wish for Hanyu: a collaboration with the Noh actor Mansai Nomura.

 

Hanyu became a fan of Mansai through a children’s TV program he appeared on. For Hanyu, Mansai is also a significant figure as a skater. One of Hanyu’s signature programs, “SEIMEI,” uses music from the movie “Onmyoji,” starring Mansai, and Mansai’s poses from the film are incorporated into the choreography. During the 2015–16 season when Hanyu performed “SEIMEI,” they even held a dialogue together.

Ten years have passed since then. At the show, two collaborative performances with Mansai were presented — and they were simply overwhelming.

 

The first was at the end of the first act: “MANSAI — Bolero × notte stellata,” performed by Mansai, Hanyu, and other skaters. Mansai stood on a specially built (Noh) stage at the center of the rink, radiating a presence that transformed the atmosphere.

One by one, skaters appeared around the stage, forming a group dance. Then Hanyu appeared. Responding to Mansai’s strong stomping, Hanyu performed with power and complementarity.

 

At the end, Mansai and Hanyu jumped simultaneously. The arena erupted with cheers and applause that didn’t stop.

Next, at the beginning of the second act, “SEIMEI” was performed by Mansai and Hanyu. After six minutes of practice, Mansai, playing Abe no Seimei, called out powerfully — “Heaven, Earth, Person,” “Appear, Yuzuru Hanyu!” — summoning him.

 

What followed was nothing short of breathtaking. A quadruple Salchow at the start, then a quadruple toe loop into a triple jump combination — on a stage where there are no second chances, Hanyu performed brilliantly as if in a session with Mansai’s dance. A standing ovation from the audience was inevitable.

 

After the show, Mansai spoke about Hanyu:

“Today in ‘SEIMEI,’ we started with ‘Heaven, Earth, Person.’ I remembered our conversation when I said I govern heaven, earth, and person, or rather, I control space and time enveloped in music. Watching Hanyu produce and direct his ice shows like this, it truly feels like he commands heaven, earth, and person. I feel encouraged by his growth.”

 

Of course, this also included Hanyu’s performance. When told Mansai said he was happy about Hanyu’s growth, Hanyu replied:

“No… I still have a long way to go. I will continue to devote myself to improvement.^[5]”

 

After performing the two collaborations, Hanyu emotionally skated “Haru yo, Koi” as the grand finale, and then joined other skaters in “Kibou no Uta” (“Song of Hope”). The blossoming movements with the other skaters truly conveyed hope.

 

Just as Mansai said with emotion that he saw Hanyu’s growth, the precision of the technical skills starting with the quadruple jumps, the overcoming of the difficulty of the collaboration, and the expressive storytelling clearly showed the path Hanyu has walked since turning professional. It also brought to light Hanyu’s earnest attitude.

 

At the core, there was also a special feeling unique to “notte stellata.” After the show, Hanyu spoke about the power of gratitude toward those who came to the venue and those who watched through streaming services, expressing his thanks, then said:

“Just like we were able to stand up after the earthquake, I hope that sense of connection keeps spreading.”

 

Fourteen years have passed since the Great East Japan Earthquake. Hanyu continues to hold heartfelt thoughts for the people and regions affected, expressing this through his work without change. It’s not only limited to that disaster; in his closing remarks, he also mentioned Noto and other disaster-affected people.

 

This heart, and the persistent path he has walked as a skater and performer, make “notte stellata” a truly special ice show.

The first year had a strong tone of requiem, followed by the second year’s will to move forward, and now the third year once again made it impossible not to feel deeply moved.

---

“I skated while thinking, ‘I want to deliver this to everyone.’”

 

Special Report
Noto Peninsula Earthquake Reconstruction Support Charity Performance —Challenge— (P. 62-63)

 

On September 15, 2024, a charity show was held in Kanazawa City, Ishikawa Prefecture, to support recovery from the Noto Peninsula earthquake.
Yuzuru Hanyu and other performers joined local people in delivering hope through their performances.
Photos: Toru Yaguchi

 

Spoiler

An Ice Show of Prayers and Hope, Sent from the Disaster Area of Ishikawa

 

On January 1, 2024, the Noto Peninsula earthquake struck. To support the recovery efforts, an ice show was held in Kanazawa City, Ishikawa Prefecture. The theme of the show was “Challenge”.

 

It began with a performance by Wajima Wadaiko Toranosuke, a local youth taiko group, followed by a dance and calligraphy performance by the Noto High School Calligraphy Club. Then, Yuzuru Hanyu, Satoko Miyahara, Akiko Suzuki, and Takahito Mura each presented solo programs. Finally, all the skaters came together in a group performance set to “Que Sera Sera” by Mrs. GREEN APPLE, delivering a message of prayer and hope for reconstruction.

 

About choosing to hold the show in the disaster area despite many challenges, Yuzuru Hanyu commented:

“We skate while sensing the strength of the region and the atmosphere of the site. I skated thinking that maybe, even just a little, a ripple or a movement of air from this place might carry our feelings and somehow reach everyone.”

 

He also visited areas affected by the disaster, and shared his impressions:

“I was shocked by how vivid and raw it felt—how much of the damage still remains.”

 

He continued:

“More than half a year has passed since the earthquake. I think everyone has started to wonder, ‘What can we do?’ or ‘How far along is recovery?’ But, sometimes things happen, and sometimes they don’t. There are times when we just have to say, ‘It can’t be helped.’ But within that ‘it can’t be helped,’ I hope there are smiles and people giving their all in each moment.”

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Live Voice
Words Delivered to the Disaster Area (P. 68–69)

In a press conference held after the performance, the skaters shared their thoughts on what they poured into their performances.

 

 

Spoiler

— What are your thoughts on today?

Takahito Mura:

“I really felt that skating here had a great meaning. I participated with the hope that watching this performance would give people the energy to move toward tomorrow and take their next step forward.”

 

Yuzuru Hanyu:

“There are people who are going through hard times, and there are people who are doing okay right now—I think there are all kinds of people in different situations. I skated while thinking, ‘I hope I can spread the circle of smiles even a little bit among all those people.’”

 

Satoko Miyahara:

“Opportunities like this charity show don’t come around often, so I’m very glad I could take part. I skated with the hope that, through my skating, I could be of some help to people.”

 

Akiko Suzuki:

“Every time a disaster like this happens, I feel powerless. But today, having this kind of opportunity to skate—maybe we can communicate something through that. With that thought firmly in my heart, I came here and gave it my all.”

 

— Yuzuru, since turning professional, has your approach to supporting disaster areas changed?

Yuzuru Hanyu:

“Back when I won my second Olympic gold medal, I had this strong feeling that I wanted to start supporting disaster areas and showing care in my own way. That’s what kept me going as a competitive skater.

Now that I’ve finally gone pro, little by little, I’ve been able to start turning my thoughts toward disaster areas and all the various calamities that happen.

Even so, at the core, I’m a skater. So I hope that my performances can become a form of support, or emotional encouragement—something that helps in some way.

My show “notte stellata” is a charity show that responds to 3.11 (the Great East Japan Earthquake) and various other disasters occurring at different times.

This time, we held it especially for the Noto region and the earthquake that struck there.”

 

— There’s a sense that public attention to the Noto earthquake is already fading. Do you think today’s performance helped bring focus back? Many would say that’s thanks to your presence.

Yuzuru Hanyu:

“It’s the same with 3.11. Because the disaster areas are far from major urban centers, they don’t get reported on as much. Of course, if there’s some kind of progress, it might get picked up in the news again, but these are areas where recovery is particularly difficult.

For instance, I heard that traffic restrictions are heavier here than in other areas, so I imagined it must be tough. That’s something I felt from both the news and actually visiting the area.

 

It’s hard for people like us to really stop that fading of memory, but still—I wanted to support the disaster recovery, and that’s part of why I wanted to win those two Olympic golds.

 

So now, I try to use this recognition I’ve earned in a positive way. For example, everyone who bought a ticket to stream today’s performance—that money, that attention—I really hope even a little of it can help in some way.”

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Special Interview

Yuzuru Hanyu × Haier / AQUA
A Shared Passion for Relentless Challenge (P.70)

Yuzuru Hanyu has been appointed brand ambassador for home appliance brands Haier and AQUA. We spoke with Mr. Kazuaki Kajiyama, Executive Officer and CSO of AQUA Co., Ltd., and Head of the Strategic Division.
Interview & Text: Editorial Department
 

A Comrade Who Keeps the Flame of the Soul Burning

 

Spoiler

— Could you tell us how you came to appoint Yuzuru Hanyu as your brand ambassador?

“Mr. Hanyu is a figure skater who has stood at the pinnacle of the world many times, including winning back-to-back Olympic titles. Yet even with those achievements, he’s never been satisfied—he has continued to push forward and take on new challenges. That hasn't changed since he left competition and became a professional skater. He has gone on to produce one groundbreaking ice show after another, and continues to succeed.

We at Haier Japan have a management philosophy: Even after conquering the mountain before you, set your sights on the next peak. Mr. Hanyu, with his continued efforts to aim higher and never settle despite all his success, truly embodies this mindset. That’s why we felt he was the ideal person to represent Haier and AQUA as our brand ambassador.”

 

— What was the concept behind the visuals for the ad campaign?

“This time, we took a bold approach by having Mr. Hanyu represent both the Haier and AQUA brand images himself. One of the key concepts underpinning this campaign was ‘challenge,’ which aligns with our corporate philosophy.

For Haier, we built the story around the keyword ‘Go beyond yourself.’ In the "Self vs. Self" version of the commercial, we begin with Mr. Hanyu confronting his past self, and then the present Hanyu delivers a powerful skating performance. During the shoot, we asked him to ‘show strength and a sense of speed,’ and to express that his challenge never ends because he’s still seeking new, unseen value and possibilities. We also worked with the costume designer to reflect this strength in the bold blue outfit.

On the other hand, the AQUA concept is built on the idea of “創新 (Soushin)^[6],” a word we deeply value at Haier Japan. This word represents the creation of entirely new connections between people’s lives and the future—products that allow users to generate and share new value, and to deliver a kind of authentic love to users that transcends limitations. For the AQUA CM, we asked Mr. Hanyu to express this idea with elegance and fluidity.

I hear fans have been affectionately calling the two different Hanyus in the campaign the “Blue Hanyu” and the “White Hanyu.” I’m truly happy to hear that.”

 

— How did this project come together?

“We began with an online meeting where we shared our company philosophy and the concept behind the commercial. Then came the actual shoot, and Mr. Hanyu went far beyond our expectations—he was so meticulous about every little detail that the shoot ended up taking far longer than we had scheduled.”

 

— What was your impression of Mr. Hanyu at the shoot?

“He’s even more passionate in person than he appears on TV. Even when the director or our team gave the OK, Mr. Hanyu would say, ‘I’m not satisfied with that. Please let me do it again!’ He did his quadruple jumps over and over again, always aiming for perfection.

We were honestly concerned—‘What if he gets injured?’—and told him, ‘It’s fine now, really!’ But he kept pushing himself until he was personally satisfied. It became clear that Mr. Hanyu had fully embraced this project as something he was fighting for alongside us, and I found myself deeply moved by that.”

 

— What kind of response has the campaign received so far?

“We’ve gotten a great response from customers, on social media, from business partners, and from our own employees—positive feedback from all of our stakeholders. There were many people who discovered Haier/AQUA through Mr. Hanyu, and even those who already knew us said they felt more positively toward our brands, our products, and our services. We really feel that with Mr. Hanyu’s support, we’ve taken the first step in spreading our company’s values.”

 

— Have you ever seen Mr. Hanyu perform live? What were your impressions?

“The first time I saw him skate live was at Fantasy on Ice 2024. Watching him perform, I felt strongly that even as a professional skater, he hasn’t stopped evolving. His ‘spirit of challenge’ remains completely undimmed. His performance had incredible power—and as both a skater and as a person, I felt he has grown even more.”

 

— What kinds of promotions or projects are you planning for the future?

“We hope Mr. Hanyu will continue to help us communicate our vision to a wide audience, and we’d be honored if he would remain our comrade, a kindred spirit who keeps the flame of the soul alive. We can’t reveal anything just yet, but please keep an eye out for what’s to come—we hope you’ll look forward to it.”

 

— You’ve described Mr. Hanyu as a ‘comrade,’ haven’t you?

“Yes. The AQUA brand debuted in 2012, and the following year, in 2013, we installed the Haier/AQUA signage in Ginza, Tokyo. At the time, our founder Zhang Ruimin delivered this message to our employees:

‘We’ve lit a neon sign in Ginza, one of the world’s most prominent locations. But we must never let this light go out—we must keep it burning as the flame of our soul in the hearts of Japanese consumers.’

That message has always stayed with us. And the idea of holding fast to your beliefs and continuing to express them—to keep that flame alive forever in your soul—is something I feel resonates deeply with Mr. Hanyu’s own philosophy.

Thinking about it now, I don’t believe we arrived at Mr. Hanyu by chance. I believe it was inevitable.”

---

 

Special Interview
Costume Designer Taketoshi Hara
Costume as a Stage Set (P.74-75)

 

In the Haier/AQUA commercial, the blue and white outfits worn by Yuzuru Hanyu sparked much attention. We spoke with designer Taketoshi Hara, who was in charge of creating the costumes, about the intention behind the designs and stories from behind the scenes.

Spoiler

Interview and text: Editorial Department

 

PROFILE
 Born in Kanagawa Prefecture. In addition to designing costumes for many top-level figure skaters, he also has a career as a guitarist.
Instagram: @taketoshihara

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"Blue Hanyu" and "White Hanyu"
Devotion to Two Costumes

 

—Can you tell us how you came to be in charge of the costumes for this project?

“I was approached around last autumn, but at first, it wasn’t a request to make costumes—it was just a coordination request. However, Haier/AQUA already had a clear concept in mind, and as discussions progressed, it was decided that we’d create something brand new instead of using existing items.

 

At first, I was just excited thinking, ‘I’ll get to see Hanyu-san skate up close for the first time in a while!’ and I was taking it easy. But then suddenly it turned into a rush job where I had to make two outfits in a short amount of time—it was tough! (laughs). The actual production time was about three weeks. While waiting for approval on one design, I worked on the concept for the other in parallel. It was probably the tightest schedule I’ve ever had.

 

But on that pristine white stage of water, the costume becomes the only stage set. Since this was a commercial costume—something no one had ever seen before, something that needed to leave a lasting impression—I tackled the job with a strong sense of purpose.”

 

—How did you go about designing the costumes?

“I always get my design ideas from music, so I asked the creative team, ‘Please tell me as soon as possible what kind of music will be used.’ In commercials, the final music sometimes isn’t ready until the post-production stage, so it’s common for it to be shared later in the process. But music is essential for my designs, so every time they updated the arrangement, they sent me the latest audio file. I would listen to each version carefully and refine the designs accordingly.”

 

—What were the concepts behind the blue and white costumes?

“For the blue costume, I based it on Haier’s corporate color—a deep royal blue. The concept was to merge the classical and noble with a sense of technical sophistication. I drew inspiration from gemstones like lapis lazuli and from luxury European cars like Lamborghinis and Ferraris.

The commercial’s music included string instruments but also had a modern EDM feel, like a movie or video game soundtrack. So I incorporated a sharp, classical image with elements of artisanal (indie) unisex fashion.

I included rhinestones because I wanted to highlight the figure skating aesthetic. I placed the rhinestones on the shoulder by hand, and actually, the central motif there is the same as the one on the front of the white costume. Though the blue and white outfits are completely different, I designed them to have subtle links if you compare them closely.”

 

—What was the concept behind the white costume?

“Since the blue costume was asymmetrical, I wanted to contrast it by making the white one symmetrical. Speaking of contrast, the blue outfit has pleats on the right side, while the white one gathers tucks toward the central button closure to create dimension and nuance.

Also, strictly speaking, the color isn’t pure white—it’s a very pale blue. White is a difficult color. If it’s too pure, it can look flat, and since the rink is also white, there’s no contrast and the outfit can disappear into the background. So I added just a hint of blue to create a sense of clarity and dignity. If you look at still photos from the rink, you might be able to see a faint bluish tint.

The silhouette incorporates softness from bridal or Chinese formal wear styles, with an added image of religious figures like priests. The decorative details were inspired by custom jewelry, gemstones, and European cathedrals.”

 

—It sounds like there were a lot of design details. What was the most challenging part?

“In the storyboard we received ahead of time, there was a scene of him jumping. When I saw that, I thought, ‘If it’s Hanyu-san, he’s definitely going to go for a triple Axel or a quad.’

Since we could only do a fitting on the day of the shoot, I was worried about whether I could make something that would move with him. But because I’m already very familiar with his measurements, I managed to pull it off.

I made the outfit full-stretch so it wouldn’t restrict his movement, but at the same time, I wanted to keep the silhouette looking like a tailored jacket. I paid close attention to the shoulder pads and the way the inner structure was added to the body.”

 

The Joy of Being a Designer Felt on Set

 

—What was Haier/AQUA’s reaction to the costumes?

“They said things like, ‘It’s just as we imagined—no, even better. It’s perfect!’ I got a lot of praise from various people involved.

Haier/AQUA’s products have a strong emphasis on design, and I felt that same attention to detail in how they directed the costumes. So for me, it was a really rewarding job. I truly feel I was able to do some of my best work.”

 

—Do you have any behind-the-scenes stories from the shoot?

“Usually, Hanyu-san has a specific spot on the rink where he jumps quads, but this time, because it was a green screen shoot for compositing, he had to jump in the center of the rink. He said, ‘Please let me adjust!’ and tried multiple times—it looked really tricky to time.

Also, this time we used real rhinestones, which made the costume a bit heavy. Wearing a new costume, jumping a quad in a place he doesn’t normally jump from—and still landing it within the limited shooting time—his professionalism really moved me.

 

The sleeves on the white costume were made from a unique, draping tulle fabric, and attached in a way I’ve never done before. Hanyu-san was intrigued and said, ‘This is unusual.’ After checking the air resistance during a jump, he said, ‘Maybe I should hold the sleeves when I jump.’ He really knows how to handle costumes—it’s always impressive.”

 

—It feels like it’s been a while since we’ve seen Hanyu-san skating on the ice in a commercial.

“Yes, that’s right. Hanyu-san can do anything—he’s incredibly versatile—but for me, it’s his performances on the ice that move me the most.

That it reached the public in the form of a commercial—even for people who aren’t usually interested in figure skating—and that my costumes were part of it, made me incredibly happy.

 

This time, with permission, we staff were even allowed to step onto the water-covered surface during filming to help adjust the costumes.

I’ve been involved with figure skating for about 10 years, but I can count the number of times I’ve stepped onto the rink itself. I know just how sacred that space is, so I was very nervous.

 

Watching Hanyu-san’s skating from that close, I was so moved I almost cried.

Standing in the center of the rink, it felt bigger and colder than it does from the outside. I thought, ‘Skaters stand here all alone...’—it stirred emotions that are hard to put into words.”

 

—Thank you very much. One final question. What does "designing costumes for Yuzuru Hanyu" mean to you as a designer, Mr. Hara?

“This time, there are two costumes, one blue and one white, and when Mr. Hanyu wears them… he becomes Yuzuru Hanyu in that costume. It's like he turns into a completely different person. He has this way of engaging in a dialogue with the costume I’ve created and bringing a whole world into existence. That happened this time as well. He’s probably the only person who gives me that kind of feeling.

 

Of course, there’s a lot of pressure, and many difficult aspects too. But seeing a piece of work I poured my soul into being elevated into something far beyond what I imagined—it's incredibly moving. Every time I work with Mr. Hanyu, it becomes a cherished memory. If I can continue creating costumes for him in the future, it would be a great honor.”

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Special Column
The Path of a Professional Skater (P.92-93)

Two and a half years have passed since Yuzuru Hanyu’s press conference in July 2022, where he announced his decision to become a professional skater. Since then, he has continued to walk a path unlike anyone else’s.

 

Weaving the “ICE STORY” on a New Stage
 

Spoiler

It has been just over two and a half years since Yuzuru Hanyu declared his transition to professional skating on July 19, 2022. Having achieved extraordinary feats as an amateur—such as winning back-to-back Olympic gold medals and completing the Super Slam—Hanyu continues to pioneer uncharted territory even in his professional career.

 

When it comes to ice shows, he has taken on formats never seen before and has continued to evolve them. In 2022, he launched “Prologue,” a solo ice show that, as the name suggests, marked the beginning of his life as a professional skater (Yokohama performances in November, Hachinohe in December). With a groundbreaking style that defied the usual concept of ice shows—where he was the only one skating on the ice—he surprised and captivated audiences.

 

The content of the show offered a rich reflection on his competitive career, while also unveiling a new self-choreographed program, Itsuka Owaru Yume ("A Dream That Will Someday End"), which was performed without jumps, focusing solely on the beauty of simple skating. In doing so, he opened a new creative frontier.

 

On February 25, 2025, Yuzuru Hanyu held Yuzuru Hanyu ICE STORY 2023 “GIFT” at the Tokyo Dome, commanding the vast arena entirely through his own skating.

 

For GIFT, MIKIKO—who had worked on the direction of “A Dream That Will Someday End” in Prologue—was in charge of directing the entire production. Since then, MIKIKO has continued to direct Hanyu’s solo shows. The style established in GIFT, where a world is constructed through the fusion of Hanyu’s words and skating, has since been carried on in the second and third installments of the ICE STORY series.

Among the pieces in GIFT, “Ashura-chan” left a strong impression with its sharp, angular expression. The finely carved-out steps blended with the groove of the music, sending waves of excitement through the Tokyo Dome crowd.

 

In November of the same year, he embarked on his first tour: Yuzuru Hanyu ICE STORY 2nd “RE_PRAY TOUR”. Kicking off at Saitama Super Arena, the tour was themed around a video game that Hanyu himself cherishes, posing the question: unlike in games, what does it mean when life cannot be revived in reality? In a new program set to the song “Tori to Hebi to Buta^[7],” which references the three poisons in Buddhist teachings, Hanyu departed from his usual wide-ranging use of the rink. Instead, he deliberately skated back and forth along a straight path, unveiling a fresh mode of expression.

 

The RE_PRAY tour began with the Saitama performance in November, and continued across the new year with performances in Saga (January) and Yokohama (February), finally concluding in April 2024 with an additional show in Miyagi.

 

Furthermore, in December 2024, the third installment—Yuzuru Hanyu ICE STORY 3rd “Echoes of Life”—began. Based on a script (novelette) written by Hanyu himself^[8], the show unfolds a philosophical narrative. Audiences are invited to ponder the nature of life itself, walking alongside Nova, the character portrayed by Hanyu.

 

In Echoes of Life, one standout new piece is Eclipse/blue, in which Hanyu expresses his own words through both movement and skating. The piece evokes the deep resonance of contemporary dance. As Nova, Hanyu gives form to both the sound and meaning of language. With performances in Saitama (December), Hiroshima (January 2025), and Chiba (February), this tour marked a new chapter for Hanyu—a story in which he portrays someone other than himself for the first time in an ICE STORY.

 

Support for Disaster-Affected Areas as a Professional Skater

 

Having experienced the Great East Japan Earthquake firsthand in his hometown of Sendai, Miyagi, Hanyu has steadily given shape to the deep feelings he holds for the affected regions—a powerful motivation in his professional career.

In March 2023, twelve years after the disaster, Hanyu held his headlining show notte stellata at Sekisui Heim Super Arena in Miyagi Prefecture. Meaning “starry night” in Italian, notte stellata shares its name with the program Hanyu skated at the PyeongChang 2018 Olympic exhibition gala after defending his title. It also alludes to the sky he saw on the night of the earthquake—darkened by a blackout, yet filled with stars, which gave him a sense of hope as he walked to the evacuation center.

 

During the first notte stellata, Hanyu spoke openly on March 11 about the emotional conflict he felt performing at a venue that once served as a temporary morgue. His expressions during that show reflected the weight of those feelings. However, by the second iteration of notte stellata in 2024, his demeanor had brightened. It seemed he had found fulfillment in the freedom his professional career now allows—finally able to carry out, on his own terms, the support for disaster-affected areas that was limited during his amateur years.

 

In September 2024, following the massive earthquake in the Noto Peninsula earlier that year, Hanyu hosted the Noto Peninsula Earthquake Recovery Charity Performance. The show, held at a venue in Ishikawa Prefecture, was also streamed online, and all proceeds were donated to the prefecture and local municipalities in Noto. After the performance, Hanyu shared the following thoughts:

“One of my big goals behind wanting to win a second gold medal was that I wanted to use that as the starting point to begin doing things like supporting the disaster-affected areas, and showing care. That feeling drove me throughout my competitive career.
Now that I’ve turned pro, I’m finally—bit by bit—beginning to reach a place where I can direct my heart toward these disaster-struck regions. Of course, there are many different kinds of disasters out there…”

 

Then in March 2025, the third notte stellata was held. This time, the special guest was Kyogen actor Mansai Nomura. Hanyu has performed the program “SEIMEI” to music from the film Onmyoji, in which Nomura starred as Abe no Seimei—making this collaboration a long-cherished dream for him.

 

The two collaborative pieces performed by Hanyu and Nomura were both of exceptional artistic quality. In MANSAI Bolero × notte stellata, which also featured other skaters, the story of mourning and rebirth was conveyed with refined expression. Notably, while Hanyu had previously portrayed Abe no Seimei in SEIMEI, in this performance he took on the role of a shikigami—a spirit being—who receives strength from Seimei, played by Nomura.

 

After the opening night, Hanyu shared the thoughts he had infused into the performance:

“Together with everyone skating in this show at this venue, I performed while praying and hoping that what we do might somehow serve as a catalyst—something we can do—in response to March 11 and the many other disasters.”

As he continues to refine his performances and give concrete shape to his heartfelt support for disaster-stricken regions, Hanyu prepares to enter his fourth professional season.
What new expressions will he show us next?

 

TRANSLATION NOTES: 

 

Spoiler

[1] Piano Collection (performed by Shinya Kiyozuka)

• No. 3 Ballade in G minor (from Six Pieces for Piano, Op. 118 by Johannes Brahms)
• Prelude and Fugue in C minor, BWV 847 (from The Well-Tempered Clavier by Johann Sebastian Bach)
• Keyboard sonata in D minor, K. 141 (by Domenico Scarlatti)
• Étude Op. 25, No. 12 in C minor – Ocean (by Frédéric Chopin)
• Étude Op. 10, No. 4 in C-sharp minor – Torrent (by Frédéric Chopin)

 

[2]  For more context on the development of “Piano Collection," there is a post on Shinya Kiyozuka’s Instagram (2024/12/08)  where he shares a bit more about the selection of the pieces:

"Yuzu-chan (ゆづちゃん) contacted me saying, 'I'd like to consult about classical music,' and when I heard what he had in mind, it was yet another outrageous idea...

Every meeting left me thinking, 'Is this even possible?'

But on opening day at Saitama Super Arena, he absolutely nailed it.

Since the tour is still ongoing, I can't share too many details, but we seriously recorded five full classical pieces (though slightly edited).

There was a common thread in all the pieces we discussed and that Yuzu-chan ultimately selected - 'destiny.' Whether it was the key of C minor or works that highlight composers' fateful strength and stoicism, he naturally gravitated toward pieces that perfectly embody destiny and fate.

He listened with genuine interest when I explained this, treating it as a learning opportunity [...]”

Note: in Western classical tradition, C minor is historically associated with “fate" and struggle (e.g., Beethoven’s Fifth Symphony, Mozart’s Piano Concerto No. 24), and tragic intensity and emotional weight (e.g., Chopin’s Funeral March).
More on “Piano Collection” from Yuzuru’s perspective: https://worldfigureskating-web.jp/news/9382/2/ 
 

[3] Shikigami (式神): Supernatural entities or spirits summoned and controlled by an onmyōji to carry out tasks. Often depicted as invisible spirits, paper familiars, or beings that take human or animal form. In fiction and folklore, they may serve as guardians, messengers, or even combatants, depending on the power of the onmyōji who summoned them.

 

[4] 「ない思いと 変化していく思い」,where 「思い」 (おもい/omoi) means feelings, thoughts, emotions.

 

[5] 「精進いたします」where 「精進」 (しょうじん, shōjin) means to devote oneself diligently to improving or making progress. “Shōjin” originally comes from Buddhist practice, where it referred to devoted effort toward spiritual cultivation, but in modern Japanese it’s commonly used to express dedication to improving skills or character through steady effort.

 

[6] 創新（そうしん / sōshin), compound word made up of:  創（そう / sō), meaning to create, to initiate, to originate, and 新（しん / shin), meaning new, novel, fresh. 創新 literally means “creating something new” or “innovation.” It is not a commonly used everyday word in Japanese (as 革新/ kakushin, which also means "innovation"), but it is often used in corporate or academic contexts, especially when emphasizing original creation of new value or ideas, rather than just improvement or change.

 

[7] 鶏と蛇と豚 / Rooster, Snake, Pig (The Gate of Living), song by Sheena Ringo

 

[8] This refers to the STORY BOOK 『Echoes of Life』, an official English version is available for purchase on the Echoes of Life online store (1,800 yen). The content of the STORY BOOK is slightly different than the narration included on the Echoes of Life videos. There are more descriptions of the scenery, Nova’s perception of his surroundings, and the character of VGH-127