[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 artisan indie fashion brands’ unisex styles. 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, almost 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. For the decorative details, I used samples like 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 that 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 as if he transforms into a completely different person. He communicates with the costume 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."