[2021.03.13] Quadruple Axel 2021 Season Climax

[yuzurujenn]

Info: https://www.amazon.co.jp/フィギュアスケート男子ファンブック-Quadruple-Axel-2021-シーズンクライマックス-ebook/dp/B08YJQ6B7D

 

This issue is the climax of the season for the men's singles magazine "Quadruple Axel." Close coverage of top skaters!

Content:

[Exclusive interview]
Yuzuru Hanyu: "Proof of an absolute champion"

[All Japan Championships report]
Yuzuru Hanyu: "Putting his heart into his program, he reclaimed the title in a spectacular fashion"

[Talking about Yuzuru Hanyu]
Jeffrey Buttle: "A gift from heaven"
Satomi Ito: "Shining on the ice"

Nobunari Oda: "Heaven, earth and God"
Shoichiro Tsuzuki: "With love for skating"

[Special contribution]
Reporter's eye: "Yuzuru Hanyu - the absolute champion, his 10-year journey"

[Close-up report]

Shoma Uno: "A performance of gratitude with a constant smile"

[Special interview]
Yuma Kagiyama: "Driven by a competitive spirit"
Shun Sato: "I will overcome this wall"

Kao Miura: "A premonition of a new revolution"
Tatsuki Hino: "Every day is irreplaceable"
Rika Kihira: "Straight to the stage of my dreams"
Kaori Sakamoto: "A season of innovation"
Mai Mihara: "A silver rink of gratitude"

[Special Conversation]
Tanaka Keiji x Miyahara Satoko "The Aesthetics of a Seeker"
Tomono Kazuki x Honda Taichi "A Final Talk of Tears and Laughter"
Yamamoto Sota x Sumoto Mitsuki "Childhood Friends and Rivals"
Shimada Koshiro x Nishiyama Mako "Towards Their Own Dreams"

[Special Feature]
Nakaniwa Kensuke "The Challenge of a Young Leader"

[Series]
"The Power of Choreographers to Develop Individuality" #10 Ernesto Martinez

[Popular Series]
Suzuki Jun "In My Life - The Encouragement of Duality in Literature and Dance"
Machida Tatsuki "A Letter to a Young Skater"

[Competition Report]
89th All Japan Championships

[Photo Gallery]
Nagoya Figure Skating Festival
Medalist on Ice

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2021 Season Climax, pg 28-33

 

"A Gift From Heaven"

<Talking about Yuzuru Hanyu>

Special Guest: Jeffrey Buttle

 

Since the 2012–2013 season's “Parisienne Walkways,” choreographer Jeffrey Buttle has consistently worked on Yuzuru Hanyu’s short programs. Even in this season, struck by the COVID-19 pandemic, he says he created the program through trial and error without being able to do in-person choreography. We asked him to talk about behind-the-scenes stories of the program’s creation, along with his overflowing feelings toward his beloved student.

Interview/Text by Yukiko Ogawa and Tatsuya Murao

 

Spoiler

—Thank you for taking the time to speak with us today. I believe the pandemic has had a big impact in Canada as well. How are you spending your time now?

 

Jeff: Toronto, where I live, is still under lockdown (as of January 21, 2021), so I'm mostly staying at home. We can go out for groceries and medical purposes, but otherwise, we are advised to stay home.

 

—Are the rinks also closed?

 

Jeff: Only a select few top athletes are allowed to continue training, those who are aiming to compete in this year’s Tokyo Olympics or next year’s Beijing Olympics. There are very few, maybe 12 or 13 people training at the Cricket Club. I do go there sometimes, but only when absolutely necessary, about 6–7 hours a week. Other than that, I’ve been keeping myself busy at home. I’m also choreographing on the floor.

 

—You choreographed Yuzuru Hanyu’s short program again this season. Did you watch his performance at the All-Japan Championships?

 

Jeff: I was able to watch it on video. I felt very proud of him. During this pandemic, nearly all athletes were affected in some way. Yuzu also couldn’t come to Canada and had to train alone in Japan. Even in that situation, he took on competition and showed exactly why he’s a champion.

 

—Hanyu himself said that training alone was tough. How did you communicate with him?

 

Jeff: We mainly communicated through video and email. First, I would record myself skating on the ice and send it to him. Then he would try it himself, record his attempt on video, and send it back to me. I would watch that and send my feedback and ideas via email. So it was different from creating the choreography together in person. However, I think he did his best given the limited circumstances. I completely understand if he felt down in a situation like that. I imagine it must have been extremely difficult mentally to do it alone. I'm proud of him for pulling it off. For an athlete, not being able to compete is extremely difficult to maintain motivation. The same goes for coaches. Normally, we'd encourage our athletes by saying, "The tournament is coming up!" But everything was so unclear. Being in a state of limbo, wondering, "Will the competition be held?" "Is it really happening? Or not?", is actually very tough.  But the moment I saw his performance at Nationals, I thought, "Wow, Yuzu made it through all this." It was very moving.

 

—He also said, “It was hard to see myself objectively” while training alone.

 

Jeff: That’s one of the hardest things. I’m sure he struggled with that. The biggest advantage of having a coach or choreographer there is the ability to give instant feedback. If he tries a move and it looks great, I can immediately say, “That was awesome!” Or suggest, “Maybe this way would be better.” It’s very different from watching a video and typing, ‘Great job, Yuzu!’ and sending it back. So I totally understand how hard that was for him. But Yuzu is mentally strong. Even without that immediate feedback, he had the strength to overcome it. That’s one of the traits that define Yuzuru Hanyu as an athlete.

 

—It had been about 10 months since he last competed, but his performance didn’t show any sign of that gap.

 

Jeff: Exactly. Normally, by that point, you would have gone through several competitions and gotten into a rhythm. But once there’s a gap, facing the pressure of competition becomes difficult. Despite that, his performance looked as if he had already gone through several competitions that season.

 

—It even gave a sense of composure. I heard that at first, you were considering a piano piece for the short program.

 

Jeff: Yes. Before last season’s World Championships (which was canceled in Montreal), we talked about wanting to do a classical piano piece for the next season, so we started looking for something along those lines, something different from Chopin’s Ballade No. 1. But then Worlds got canceled, and the pandemic turned out to be worse than I expected. Then Yuzu came to me with this proposal: “So many people are going through hard times right now. I want to do something to entertain everyone on the ice, something that will make them smile and feel happy.” I had no objections. In fact, I was thinking the same thing. I was feeling down myself, thinking, 'This situation is heavy.' So I thought, 'What everyone needs now is something bright and fun.' So we completely changed course and started looking for upbeat, fun music.

 

—Robbie Williams’ “Let Me Entertain You” is a rock number released in 1998. It’s full of energy and really lifts your spirits.

 

Jeff: This song is also used in figure skating shows, and I've choreographed it for other skaters at Stars on Ice. It's just so catchy. And the title says it all, it perfectly expresses Yuzu’s desire to “entertain everyone.” There’s nothing more straightforward than that. The music is fast-paced and exciting, yet it carries a sense of grandeur. I wanted something refreshing, like taking a deep breath of fresh air. That’s how we decided on this piece.

 

— You choreographed the program by exchanging videos. What challenges did you face in doing so?

 

Jeff: At first, I filmed the step section of the program and sent it to him, but we decided it would be better to show him the whole thing, so I sent a rough full run-through of myself skating it. Since I’m much older than him, doing a full run-through took quite a lot of energy! (laughs) What was really difficult was that, during the choreography process, ice rinks here kept closing down one after another. The rink I had been using was shut down, and when I found another, it closed just a few days later. After that, a two-month lockdown happened, and all arenas were closed.  Then, we moved on to a phase where I would watch the videos Yuzu sent and give feedback like, “Maybe we should change the direction of this jump.” That’s how things progressed. But honestly, I’d rather not imagine having to continue working like this in the future (wry smile). If this had been with a skater I was meeting for the first time, it would have been incredibly difficult and a totally different experience. Luckily, I’ve worked with Yuzu for many years, so I know the characteristics of his movements. I could imagine, “This pattern will suit him,” and plan accordingly.

 

— How did you exchange ideas for the choreography?

 

Jeff: Usually, when we’re choreographing together, he’ll say, “How about something like this?” and skate it for me, and I’ll respond, “Yeah! That’s great!” and incorporate it in that way. But this time, I skated the moves I wanted to do first, and then he received that and added his own adjustments. One difficult aspect was the time difference. By the time I watched the video he sent me and responded, it was already the next day, so there was always a time lag. Not being able to work in the moment was frustrating, but we had no choice but to do it this way. That was tough.

 

— Hanyu has said before that his goal is a seamless program where jumps are blended into the expression. How did you approach that in the choreography?

 

Jeff: Yuzu has always been able to naturally blend his jumps into the program without making a gesture like, “Okay, now I’m going to jump.” This time as well, I was very conscious of creating a flow where it feels like the jump comes “out of nowhere.” Highly difficult jumps are a tougher challenge, but since they're essential to the programs he pursues, it was necessary to carefully adjust them. He has become more aware of how to create transitions that allow him to enter jumps naturally within the program. Around 2014, he still needed a "pause" to prepare before jumping into a quadruple jump, but now, with “easy” quads, well, there’s no such thing as an easy quad of course, but with jumps he handles smoothly like the Salchow and toe loop, and lately even the loop, he’s able to jump them much more fluidly as part of the program’s flow.

 

— Speaking of syncing with the music, in the parts before and after the triple Axel, the movement matched the sound perfectly.

 

Jeff: We specifically aimed for that kind of “accent” music. I’d seen him perform a rock number at a show before, and I was blown away by how he hyped up the crowd and drew them in with his performance. I think it was U2’s "Vertigo." He’s like a rock star in a sense, he can fire up the audience in sync with the music. In this program, there are moments where the music goes “Jaaan!”—very impactful chords—so we incorporated signature poses to match each of those chords, making them the program’s highlight moments.

 

— It certainly had the impact you were aiming for!

 

Jeff: Definitely. I’d say his musicality made it possible. He knows exactly how to create dramatic moments in sync with the music. And the triple axel is an easy jump for him. Well, not that it's easy, but he makes it look easy! Normally, it’s the kind of jump where you brace yourself, tense up, and go, ‘Okay, here I go!’ But he can make it look like he just casually threw it in while having fun. He’s able to jump a triple Axel as if it were just another part of the choreography!

 

— Landing exactly on the beat is technically very hard, isn’t it?

 

Jeff: Absolutely. First, you have to take off at exactly the right moment so you’re not late for the music. And when you try to land on the beat, you tend to rush. But he’s exceptionally skilled at timing his jumps to the music. I’m sure that’s something he trains consciously. When the landing hits the beat exactly, the impact is incredible. That requires not just technique but also musical sensitivity, timing, and confidence, and he has all of that.

 

— Do you think his musicality is something innate?

 

Jeff: He’s always had excellent musicality. He can really hear and understand the music. That’s something you can’t easily teach; it’s often innate. But I feel he’s taken it to another level in recent years. Especially his awareness of which movement to pair with which note, and how to interpret subtle nuances in the music. When we first started working together (in 2012), he would just follow my instructions like, “Do a pose on this beat.” But now, he feels the music himself and expresses beyond what I ask for. That’s one of the most exciting things about working with him. He absorbs everything you give him, then transforms it into something even better and more expansive.

 

— Speaking of natural-born talent, his ability to draw in the audience is incredible.

 

Jeff: Even though this is a competitive program, I wanted him to fully express his personality, almost like he’s performing in a show. When he’s in that mode, he connects with the audience in front of him and pulls the entire arena into his performance. It’s on a completely different level from “just performing for the judges.” He was amazing in that sense, too. He truly drew everyone into his world. He’s a born entertainer. He’s both a competitor and a performer.

 

— We also saw some familiar poses, like the lunge. 

 

Jeff: We incorporated a few signature poses even in the Chopin program, but obviously, energetic, hyped-up poses don’t really suit Chopin. But this time, the music had strong show-like elements, the kind of program that feels like a rock star has descended onto the concert stage! So I wanted him to show off his full charm without holding back. I'm sure his fans are also looking forward to seeing those signature “Yuzu poses.” The theme of this program was: “Let everyone have fun!” So of course we had to include the things people were waiting for!
 

— The costume was really cool too. Did you give him any advice on that?

 

Jeff: (laughs) Actually, costumes are my biggest weakness! So I always consult someone else for that. Of course, if I think something doesn’t look right, I’ll say so, like, “Maybe you should change that a bit?” But Yuzu always has his own ideas, and I trust him on that.

 

— A program that excites the audience like this one is something unique to Hanyu. While he seems capable of skating to any kind of music, as a choreographer, what do you consider to be his true forte?

 

Jeff: He’s an outstanding entertainer, so he can engage with the audience while executing highly difficult elements with precision and still appear completely relaxed. For most skaters, that’s incredibly hard to do. In fact, these rock numbers are a completely different world compared to classical music programs. With classical pieces, it’s easier to create pauses to focus on jumps. But with a program like this one to Robbie Williams, you have to stay constantly connected with the audience. The moment that connection is broken, the program instantly loses its brilliance. Maintaining that constant connection is very difficult, and there aren’t many skaters who can truly do it. Performing the elements while staying aware of that audience connection is extremely demanding because you’re constantly focusing on both performance and execution at the same time. That ability is one of Yuzu’s greatest strengths. Even though he’s incredibly focused while skating, he never shows it. He stays fully in character even as he goes into his jumps and continues the performance seamlessly in a natural flow. I think his previous experience performing to Prince’s “Let’s Go Crazy” helped him develop the mindset needed for this kind of program. I think this program is a matured extension of that experience. So mentally, I believe this time was easier for him compared to before. After all, to fully perform a program like this, mental strength is key, and that’s something that comes from experience.

 

— This could become one of his signature programs.

 

Jeff: Yes. But actually, every time we complete a program, I think, “This is the signature piece!” (laughs)

 

— As a choreographer, what do you find most captivating about Hanyu?

 

Jeff: To me, he’s like a gift from heaven. He’s an incredibly rare and valuable skater, someone you rarely get the chance to work with as a choreographer. Being able to work with someone like him since my early days as a choreographer is something I feel very fortunate about. And now, over the years, our relationship has matured. Every year, working with him is a highlight for me.

 

— Would you say that working with him has helped you grow as a choreographer?

 

Jeff: That's for sure. He’s one of the skaters I’ve been working with since the beginning of my choreographing career, and back then, I only choreographed within the limits of what I could personally do. But with Yuzu, his level as a skater is higher than mine, so he can do things beyond my skill level. That helped me expand my own boundaries. I started having ideas like, “I want him to perform this,” instead of only choreographing what I could do. Even if I couldn’t do a movement myself, I’d say, “Try this,” and most of the time, he could do it. Meeting him completely changed my approach to choreography. It’s no longer about choreographing what I "can do," but about choreographing what I "want to see." Meeting a skater who makes that possible is a once-in-a-lifetime kind of luck. And the fact that he’s helped me grow in this way allows me to pass that forward to other skaters, which in turn helps them grow. Meeting Yuzu truly expanded my horizons.

 

— Having watched him over the years, how do you see his growth?

 

Jeff: There’s an English expression, ‘The proof is in the pudding,’ and it’s exactly right. It means that rather than debating this or that, what you see says it all. What I've noticed most about his transformation is how he's become more responsible for his skating and his career. As I mentioned earlier, in the early days, if I said, “Do it like this,” he would do exactly as I instructed. While I might say things like, “That was great!” we didn’t really exchange opinions. But as the years went by, Yuzu began to actively take part not only in choreography but also in things like choosing the music and other aspects. It's as if he's made up his mind that "the ice rink is where I want to be" and "this is my career." That kind of mindset shift is huge for an athlete. This is his life, his career, his artistic expression. And as that sense of ownership grew, so did his maturity, and with that maturity came wisdom. His vision of what he wants to express and what he wants to focus on has evolved tremendously. It’s truly wonderful. And this applies not just to figure skating but to any sport or even ballet: when you can take complete responsibility for what you create, you can step up to a higher level. When you take charge of yourself and your work, you start getting the results you’ve envisioned.

 

— After his performance at the All-Japan Championships, Hanyu’s comment that he “hadn’t yet fully expressed British rock” left a strong impression.

 

Jeff: That’s so like him (laughs). He’s a perfectionist. That’s part of why he’s so successful today. At the same time, I think it shows his humility and his constant drive to aim higher. After winning the Olympics once, he could have chosen to retire. But he pushed himself even further and went on to win gold at the next Olympics too. He’s achieved everything possible in the sport, enough to retire at any time with an incredible legacy. But his mentality is always to pursue being the best version of himself. I often think, “How lucky the skaters at the Cricket Club are to be able to skate alongside someone like him.” Even after accomplishing so much, he continues to strive to improve and grow, and those skaters get to witness that up close. Very few people at such a high level have that kind of mindset. And that’s exactly why he’s so successful.

 

— He must be incredibly disciplined in his daily training.

 

Jeff: Yes, he’s very stoic. But once he’s in front of an audience, he becomes a completely different person. It’s like a surge of indescribable confidence wells up inside him. But once he steps off the competitive ice, he returns to being that same stoic person. Even in interviews, he’s always hard on himself. That’s why I think he continues to push himself and polish his skills throughout the season.

 

— During this competition, Hanyu spoke several times about “fighting” and the weight of “winning and losing.”

 

Jeff: I think facing your own weaknesses is about being realistic and honest with yourself. The fact that he can recognize his weaknesses and analyze himself objectively, that in itself is a sign of his strength. Being able to accept those kinds of emotions honestly is also proof of maturity. In this situation, everyone is being forced to 'fight' in some way. And being able to face such feelings sincerely leads to being able to express emotions on the ice as well. It's easy to imagine that this season has been extremely tough. He could have chosen to put on a calm front and say, “No problem! Everything’s fine!” But that kind of performance would inevitably show cracks. It wouldn’t be genuine. And there’s something refreshing about seeing vulnerability, isn’t there? Someone as perfect as him might seem "like a computer," but even someone like him has a weak side, and that makes him seem more human. When someone as successful as him opens up about his struggles, it's almost reassuring for people like us, and it makes him feel relatable, like, "Even an absolute champion like him can get discouraged sometimes."

 

— What do you think Hanyu’s presence means to the world of figure skating?

 

Jeff: He’s an icon. The level he’s reached and the fact that he’s remained a champion for so long are things that command great respect as an athlete. He’s a figure skater who has accomplished things worthy of admiration. But in his case, it goes beyond that. Figure skating was popular in Japan before Yuzu appeared, but since he came along, the level of popularity is on another dimension entirely. He’s had a huge impact on the entire figure skating world. There are so many people who want to go to ice shows now, and there’s no doubt Yuzu played a major role in that. I’d even say his presence and his success have changed the sport. And for other skaters, choreographers like me, and everyone involved, his influence is massive too. Above all, he’s a wonderful person. Many people change their attitude after achieving that much success. But he's exactly the same as he always was. He's always respectful of those around him, loves to laugh, and always expresses his emotions openly.

 

— What kind of person is Hanyu in everyday life?

 

Jeff: He’s very charming, and never fails to show respect to others. I’ve also felt that, as he gets older, his sense of responsibility has grown stronger. And his determination to follow through on what he decides is incredible. When he was younger, other skaters were better than him, so aiming for them gave him motivation. But eventually, he became one of the top skaters himself. Now, other skaters look at him for motivation. At that point, you have to learn how to create motivation from within. There’s no one left to look up to. Of course, in competition, other athletes fuel his fighting spirit. But in daily training, he has to find that drive inside himself. Yuzu is a perfect example of someone who can do that. In that sense, too, he inspires other skaters.

 

— Speaking of motivation, Hanyu has said his ultimate goal is to land the quadruple Axel in competition.

 

Jeff: I can't predict the future, so I can't say "absolutely," but if there was any skater who could make it happen, it would be him. I've seen him practice a quadruple axel, and he came very close.

 

— Thank you so much for all your valuable insights. Finally, could you give a message to Hanyu?

 

Jeff: Yuzu, I’m so proud of what you’ve achieved this past year. How you've continued to challenge yourself and stayed focused and motivated even in these difficult circumstances. But remember, you’re never alone. Even if you step onto the ice alone, the spirit of your fans, your choreographer, your coaches, everyone who’s part of your skating, is always right there with you. And we'll all meet again soon.
 

 

 

Profile
Born in 1982, from Ontario, Canada.
He was active in men’s singles during his competitive years, achieving results such as a bronze medal at the 2006 Torino Olympics, a win at the 2008 World Championships, and victories at the Four Continents Championships in 2002 and 2004. Nicknamed the "Prince of Ice" for his refined skating and good looks, he is also highly popular in Japan. Since retiring, he has been active in a wide range of fields, including as a choreographer, coach, and professional skater.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2021 Season Climax, pg 34-36

 

"Shining on the Ice"

<Talking about Yuzuru Hanyu>

Special Guest: Satomi Ito

 

Satomi Ito, who designs costumes for top skaters both in Japan and overseas, including Yuzuru Hanyu. Her costumes, which express the world of each program through artistic use of color and beautiful decoration, are highly acclaimed not only by skaters but also by many figure skating fans. We spoke with Ms. Ito about the behind-the-scenes stories of the costume production for Yuzuru Hanyu's programs this season, "Let Me Entertain You" and "Ten to Chi to (Heaven and Earth)". Interview/Text: Junko Kuroo

 

Spoiler

—Today, I’d like to talk with you about the costume design. How long have you been designing costumes for Yuzuru Hanyu?

 

Ito: The first time I received a request was for the exhibition number "The Final Time Traveler" (2014–2015 EX). After that, I also started making his competitive costumes, starting with “Phantom of the Opera” (2014–15 FS), and it’s continued ever since. When I received the offer and met Hanyu for the first time, I was extremely nervous. He is globally popular and attracts a lot of attention, so I felt a lot of pressure not to create a strange costume. But at the same time, I also felt very happy that a costume I had poured time and care into was receiving attention.

 

—Are there any specific things Hanyu is particular about with his costumes, or requests like “this point is non-negotiable”?

 

Ito: From Hanyu’s side, there are always requests like “please make it light” and “make it easy to move in.” So I try to choose materials that are as light and flexible as possible. As for the design, it depends on the program. Sometimes I receive a rough image of what they want, and other times the request is simply, “Make something that suits the program,” in which case I propose a variety of ideas.

 

—What's the recommended weight?

 

Ito: In my mind, anything over 800g is heavy.
When I made the costume for "Notte Stellata" (2016–2017 EX and others), I initially attached four or five large rhinestones to the ends of the sleeves, but apparently he felt that the weight on the sleeves made it hard to jump. I heard that once the rhinestones were removed, he was able to jump again, and this really taught me how delicate the sensation of jumping is. Even during fittings, Hanyu moves his entire upper and lower body, even spinning on the spot, checking every detail meticulously, noting things like, "This part is a little tight" or "This part bothers me a little." I think that kind of thoroughness is amazing. It really shows how strict he is about every single aspect of figure skating.

 

—Costume production involves many steps, including design, pattern-making, sewing, and decoration. Which parts are you directly involved in?

 

Ito:  I always handle anything related to the appearance: design, choosing materials, dyeing fabrics, and decoration. I outsource the pattern-making and sewing, but depending on the schedule and progress, I sometimes do the entire process myself. It’s rare, though.

 

—This season, you were in charge of the costumes for Hanyu’s short program “Let Me Entertain You” and free skate “Ten to Chi to”. When did you receive the order?

 

Ito: Around May to June of last year, I received a message saying, “The music has been decided,” and I think I actually began the work around July or August. The final revisions were completed and delivered in November for the free program. As for the short program, it was quite tough. I worked on it right up until just before the All Japan Championships.

 

—So you had to revise it that many times?

 

Ito: Yes. For the free program, there were about two or three rounds. But for the short program, we exchanged the actual costume by mail for revisions four or five times.

 

—That’s a surprising amount of time and effort. Let’s start with the short program. Can you walk us through the process of how it was created?

 

Ito: For the short program, the order came with a fairly clear concept: “A rider’s jacket style, three-quarter sleeves, and preferably in black tones.” Since Hanyu had previously skated the exhibition number “Hello, I Love You” (2012–2013 EX), I asked, “Do you mean a similar vibe to that costume?” He replied, “Yes, I think that kind of mood fits well,” so I designed it in that direction. At that time, Hanyu’s team also said, “We think the material used for the pants in that program would be good,” so I looked for a similar glossy fabric and started making it. However, compared to the velour fabric with good stretch I’d often used for pants until then, this fabric was a bit less elastic. There was also a request to “please don’t make it too tight,” so I left a bit of space to maintain flexibility.

 

—I thought the choice of an all-black costume was unusual, but I see there was a strong image behind it.

 

Ito: Yes. I also proposed a gold costume in the design sketches, but he chose the black design. So I think that was the image he had in mind.

 

—The black jacket looked very cool. What kind of material was used?

 

Ito: Making the jacket lightweight was quite a challenge. We couldn’t use real leather, of course, but in my mind, using something like stretch faux leather would give it a more rock-inspired, edgy look. The problem is that those materials are usually thick and don’t meet the requirement of being “light and easy to move in.” So I used a two-way stretch fabric (which stretches both vertically and horizontally), which is often used in costumes. To create a rock feel, I added stud-shaped decorations.

 

—The gloves that go with the jacket also looked cool.

 

Ito: This was also made at a request from Hanyu's side, who said,“I want gloves.” These gloves are quite detailed. If you look closely, you’ll see that the fabric extends all the way to the beige fingertips. The request was, "My fingers hurt when they touch the ice, so I want the fabric to extend all the way to the fingertips," so I used beige material to make them look like fingerless gloves. It was my first time getting that kind of request. I think it also has the effect of emphasizing the length of his fingers and making his movements look sharper.

 

—What about the belt?

 

Ito: While exchanging design sketches, I was asked to “add a buckle,” so I incorporated that into the design.

 

—There’s so much attention to detail. On the other hand, what were some of the challenges?

 

Ito: The hardest part was figuring out the jacket length, the overall width, and how the T-shirt underneath would peek out from the jacket. Also, since the pants fabric didn’t stretch as much as usual, we had to actually have him try moving in them to make sure they were okay, and it took time to find that balance between visual design and functionality. I thought about how to create something that matched the image within the weight constraints, but even so, the short program costume was a bit heavy, weighing in at around 800g.

 

—Due to the pandemic, I imagine costume production was handled differently this season.

 

Ito: Yes. We couldn’t meet in person at all, so all communication was through email. Hanyu’s body shape doesn’t change much, so we were able to use measurements from two years ago. Still, not being able to do fittings in person was tough. We mailed a mock-up costume and asked things like, “How’s the chest width?” and “How’s the length balance?” But as a designer, it was difficult not being able to actually see, touch, and make small adjustments with pins down to the centimeter or millimeter.

 

—So even costume-making was affected by the pandemic. Next, could you tell us about the free skate costume for “Ten to Chi to”?

 

Ito: When he sent me the music, he said, “It’s themed around Uesugi Kenshin, but please interpret it freely.” There was a request for a kimono shape and the color “blue-green.” Based on that, I made proposals for the material, decorations, and details.

 

—The embroidery of birds and flowers on the kimono was beautiful, and shows how much thought went into it. I feel like the back is a focal point. Could you tell us more about that decoration?

 

Ito: I felt that gold was an essential color for Hanyu’s costumes. And then, I had been thinking that I wanted to use the Uesugi family crest, “sparrows in bamboo,” as a motif. Just at that time, I happened to have a beautiful gold embroidery I had just sourced from overseas, and since it featured a bird motif, I thought, “This fits the program perfectly,” and applied it to the back. Also, since figure skating is viewed from afar, I wanted it to have a three-dimensional feel, so I added cherry blossoms and petals here and there to add depth and elegance. The overall color scheme was soft, so I used a darker blue for the obi (sash) and gloves to tighten the look.

 

—Since it’s a Japanese-themed program, is there any connection to the costume for SEIMEI?

 

Ito: Both are Japanese-style costumes, but SEIMEI was modeled after a kariginu (a traditional hunting robe), while Ten to Chi to is a kimono, so I think they’re quite different. This was actually the first time I designed a kimono for Hanyu, and for this costume, I used a lighter material. SEIMEI was about 750g, and Ten to Chi to was about 710g, so it’s quite a bit lighter.

 

—You mentioned earlier that you prepared several design sketches for the short. How about for the free skate?

 

Ito: I prepared several as well, but since the color and basic shape were already decided, the only difference was that I made small variations in the decorative details.

 

—When you saw him actually performing in those costumes at the All-Japan Championships, how did you feel?

 

Ito: The atmosphere changes completely between the short and the free, so I thought that was really interesting. Watching the performance for the first time at Nationals, I was surprised like, "Oh, so that's how he moves." I always design costumes with the thought, “I want them to look the most beautiful on the ice,” so I was happy to see Hanyu looked so beautiful in them. t's been a while since I've seen him in a cool costume like the one he wore in the short program, so that felt especially refreshing.

 

—The costume for 'Haru yo, Koi' at Medalist on Ice was also stunning.

 

Ito: For exhibition costumes, he often tells me, “Please design something that fits the mood of the music,” and leaves it to me. So I create them based on the image of the music. When I heard the title Haru yo, Koi (Come, Spring), the image that came to mind was, “Spring hasn’t arrived yet. Hanyu is the one bringing spring.” That’s why I wanted to add fluttering elements like a celestial robe (hagoromo) to the costume. Rather than simply adding cherry blossoms just because it’s spring, I wanted to evoke spring through color alone, so instead of flowers, I used airbrushing to dye the fabric in soft pink tones.

 

—The way the fluttering pieces move with him looks so beautiful.

 

Ito: The fluttering parts attached to the sleeves and waist are made from organza, a thin and translucent material. 
I chose it because I wanted Hanyu to look even more beautiful and to make the entire program feel dreamlike. At first, I was a little worried that Hanyu might dislike the frills, but during the fitting he said, “If it’s this length, it’s fine,” so I was relieved.

 

—So you were concerned that the frills would interfere with the performance. Compared to competitive costumes, exhibition costumes must have fewer restrictions. Does that mean you have more freedom in design?

 

Ito: As a designer, having more freedom means I can propose many different ideas. In figure skating, the music comes first, and the costume is only one part of how that music is expressed. So I think my job is to consider what can be done and do my best within the parameters of what's expected, such as the color and shape. For someone like Hanyu who can pull off anything, I'm overflowing with ideas like, "This would look good on him," or "I’d love to see him in something like this, too." (laughs) There really aren’t many people who can pull off such a wide range of costumes, from edgy to soft styles, so as a designer, I truly look forward to to see him wear even more diverse outfits.

 

— Your work features delicate color combinations, almost like paintings. Have you been influenced by anything in particular?

 

Ito: I was originally a fan of Mao Asada, and even before I started working in figure skating, I used to attend competitions. During that time, I’d often pay close attention to costumes, thinking things like “This one is lovely” or “This color scheme really fits the program’s worldview.” I think that might’ve influenced me. Figure skating is unique in that it is a sport, but at the same time it demands artistry. I found it really appealing how it incorporates music from classical, ballet, and musicals. My interest in costumes that align with that kind of art is one reason I wanted to design figure skating costumes.

 

—Since you began designing figure skating costumes, I feel like both skaters and fans have become more conscious of costumes than ever before.

 

Ito: There are many wonderful costume designers out there, so it’s not just my influence. But I’m aware that I was probably the first in Japan to actively share on social media. By doing that, I hope people became more interested in figure skating and costumes, and if even just a little, fans end up talking to each other like, “Wow, that skater’s costume was made like this,” then I’d be happy.

 

—Thank you for the wonderful stories. Finally, please give a message of support to Hanyu.

 

Ito: Please take care to avoid injuries, and keep staying true to your beliefs. Do your best!

 

 

 

Profile

Costume designer. After studying at the fashion vocational school Esmod Japon, she studied abroad at Nottingham Trent University in the UK. After returning to Japan, she worked at a costume company before becoming independent, and is now engaged in costume production for figure skaters both in Japan and overseas. Her meticulously crafted costumes, with attention to every detail, are often described as works of art.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2021 Season Climax, pg 37-39

 

“Ten to Chi to Kami to” (Heaven, Earth, and God)"

<Talking about Yuzuru Hanyu>

Special Guest: Nobunari Oda

 

The program that Yuzuru Hanyu delivered at the All-Japan Championships was nothing short of overwhelming. After watching his free skate, Nobunari Oda rushed to update his social media, exclaiming in excitement, “Heaven and Earth and God!” As a close friend of Hanyu, how did Oda view his performance at the All Japan Championships? We spoke to him about his passionate thoughts. (Text by Junko Kuroo)

 

Spoiler

— First, what were your impressions after watching Yuzuru Hanyu’s performance at the All-Japan Championships?

 

Oda: It was truly amazing. Because of the COVID-19 situation, he wasn’t able to travel to his training base in Canada and had to adjust on his own. Even just maintaining his technical skills and mental strength under those conditions must have been incredibly difficult. Despite that, he further improved the precision of his skating and achieved victory. Hanyu’s focus was really something. During the off-season, he didn’t have his trusted coach or teammates to motivate each other. Continuing to train while maintaining self-discipline and motivation in such a situation is not something easy to do. I think that competition was a result of his mental strength in enduring those challenges, and his earnest efforts coming to fruition.

 

— How difficult is it to polish technique and maintain peak condition alone, far away from Canada?

 

Oda: When you train alone, for example, if your jumps become unstable, there's no one to give you accurate feedback. You often won’t notice subtle issues in your movements unless someone else points them out from an external perspective, so I think that had a major impact.

 

He had to plan his training routines by himself and manage the volume of training too. A coach’s role also includes things like stopping an athlete from overtraining when they’re too eager, or adjusting the day’s workload based on their physical condition. And when motivation dips, coaches might say things like “Let’s push a little more!” or “Maybe you should take a break.” Communication like that is essential to draw out the athlete’s best performance. Maintaining technical, physical, and mental peak condition without any of that support is extremely difficult. Hanyu overcame all of those obstacles and, despite it being his season debut, delivered an overwhelmingly strong performance. I think that really shows his true strength. This All-Japan Championships once again proved that he is a top-class athlete.

 

— How were you feeling as you waited for Hanyu’s season debut?

 

Oda: Honestly, I wondered if he could really compete. He probably hadn’t been able to train under ideal conditions, and with uncertainty about whether the World Championships would even be held, I kept thinking right up until Nationals, “Will he really show up?” At the same time, I thought, “If he does, he’ll bring something extraordinary.” Knowing his pride as an Olympic champion, I felt he’d want to show the world that “Yuzuru Hanyu is still amazing.” So once it was confirmed he would compete, I was filled with excitement like, “Oh, he’s really going for it!”

 

— Once the All-Japan Championships began, he had new programs for both the short and free skate.

 

Oda: That was very much like him. Like a statement saying, “If I’m going to compete, I want to bring new programs,” and “I want to deliver joy and excitement to people during these hard times.” Just the fact that he brought new programs made fans excited, and then performing them so magnificently left many people with the feeling: “Yes, that was absolutely amazing!” Also, I got the sense that strategically, with the Beijing Olympics in mind, he wanted to take this chance to test something new.

 

— What were your thoughts on his short program “Let Me Entertain You” and his free program “Ten to Chi to (Heaven and Earth)”?

 

Oda: The short was a fast-paced, upbeat track that really lifts the mood. As the title "Let Me Entertain You" suggests, I think his song choice reflected a desire to make people enjoy themselves, to feel uplifted. From a skater’s perspective though, performing to an up-tempo piece is actually very difficult. The faster tempo leaves less time for jump preparation, making timing much harder to control. So a high level of technique is required. But Hanyu has the skill to jump without long setups, so I think “Let Me Entertain You” was a good fit for his skating style.

 

He slightly over-rotated some jumps, and some landings weren’t 100%, so his grades of execution didn’t fully max out, and one of his spins was invalidated. But watching the performance, I felt, “He’s having so much fun out there after such a long time!”

 

— And what are your thoughts on his free skate?

 

Oda: As I mentioned earlier, I think the program was chosen with next year’s Olympics in mind. Just like with SEIMEI, Hanyu really suits music that reflects the spirit of Japan, the essence of “Wa” (harmony). “SEIMEI” had very clear highlight moments: the jumps, steps, slow sections, choreographic sequences. But with “Ten to Chi to,” the impression I got was that everything was connected in one continuous line, like a flowing river. Usually, when attempting something as difficult as a quad, skaters need to prepare for it, which often interrupts the flow of the program. But Hanyu is able to time his jump setups to match the music. I believe it's precisely because he has the technique to execute all of his elements in sync with the music that he is able to skate so beautifully, like endlessly flowing water. Every element matched the music, his shoulders were relaxed, and there was no unnecessary sound, like water softly trickling by. When I watched that program, I honestly thought, “This might be the most beautiful performance in figure skating," and "This is what skating at its best looks like.” Until now, I believed “SEIMEI” was the best program in the world, even thinking nothing could surpass it. But after seeing his flawless performance at Nationals, I was overwhelmed with a feeling that this might actually surpass “SEIMEI.”

 

— After the performance, you posted “Ten to Chi to Kami!” (Heaven and Earth and God) on social media.

 

Oda:  First of all, the technical skill required to complete the program as a masterpiece and the mental strength to pull it off were absolutely godlike. And I was overwhelmed by the way he completely dominated the ice. It wasn’t about whether he succeeded or failed, but rather, watching him skate so freely as if he had completely conquered the space, I thought, "He’s practically a god now..."

Usually, during a performance, a skater is bound by thoughts like “I need to land this jump” or “I have to count the rotations on my spin.” But in Ten to Chi to, there was none of that. He seemed completely unbound, just skating naturally. At some point while watching, I thought, “He’s begun to master figure skating itself.” It was such a divine performance, it was as if Hanyu himself was choreographing it on the spot, even though the program was carefully choreographed by Shae-Lynn Bourne.

 

— It really was a divine performance.

 

Oda: When I watch the best of the best in other sports, like gymnast Kohei Uchimura, I sometimes get chills from the beauty and power of their performances. But because figure skating is my own sport, I usually hold performances to an incredibly high internal standard. And yet, when I watched “Ten to Chi to,” my soul genuinely trembled. I’ve seen so many of Hanyu’s brilliant performances and always thought, “Wow, that’s amazing.” And as a fellow skater, I’d sometimes feel, “Ugh, I want to catch up. I don’t want to lose.” But this time, I felt none of that. Just pure admiration and respect. And knowing that deep in his heart, he skated with the hope of reaching people who were struggling during the pandemic, I was overwhelmed by his humanity and kindness.

 

— I don't think there has ever been a performance before that has so clearly shown Hanyu's humanity.

 

Oda: That's right. And to show that kind of humanity through skating, you need extraordinary technical ability. If I tried to express those same feelings in a performance, my lack of technical strength would make it fall flat. But Hanyu can perform at the absolute highest level in the world and, on top of that, convey his emotions. That’s what makes Yuzuru Hanyu who he is. Is he able to say, “I want to brighten people’s hearts” because he has the technique? Or does he have that ability because he’s inherently so kind? I don’t know, but he clearly has both.

 

— Hanyu has said that while training alone, there were times when he hit rock bottom.

 

Oda: To have been able to fully display his ability at the All-Japan Championships under such difficult circumstances, I think that was less due to good preparation for the competition, and more largely due to the experience he had built up until then. Hanyu has achieved many glories, including consecutive Olympic victories, but behind the scenes he has also experienced countless setbacks due to injuries and poor health. Each time, he’s overcome those challenges and come back even stronger. I believe this "ability to overcome obstacles" is one of his greatest strengths and weapons. I believe the confidence he gained through enduring solitary practice is what carried him through this performance.

 

— Hanyu seems to have this unwavering belief in “I want to win” and “I want to be my strongest self,” along with the mental strength to keep pushing toward his ideals through unimaginable effort. What do you think drives him?

 

Oda: It’s something I constantly wonder about because I truly think it’s amazing. Usually, once you perform well, even if you think, "I want to do it again," there's a part of you feels satisfied, and it’s hard to keep pushing yourself after that. But Hanyu never stops. He always strives for his ideal with unwavering determination. Even under enormous pressure and expectations from the world, he stays strong because he wants to be someone who can live up to them. And as I mentioned before, in his comments after Nationals, he spoke about thinking of healthcare workers and people struggling during the pandemic. At his core, it's his kindness and the desire to deliver courage and hope to many people, and I think that is what becomes his driving force.

 

— Thank you for sharing such valuable insights. Finally, could you give a message of encouragement to Hanyu, who now carries the hopes of a possible third Olympic gold?

 

Oda: The free skate he performed at Nationals was like flowing water, a performance where technical skill and expressive artistry fused at the highest level, and something only Hanyu can do. I hope he continues to pursue it to perfection. With this performance, I felt he knocked on the door to the gold medal, so I truly hope he keeps aiming for even greater heights!

 

 

Profile
Born in 1987, originally from Osaka Prefecture.
He began skating at age 7 under the guidance of coach Noriko Oda. Known for his soft landings and exceptional jumping technique, his precise quadruple jumps drew attention from around the world. He won gold at the 2006 Four Continents Championships, became Japanese national champion in 2008, and placed 7th at the 2010 Vancouver Olympics. In December 2013, he announced his retirement from competitive skating. He now works as a professional skater, coach, commentator, and TV personality, actively engaging in various roles.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2021 Season Climax, pg 40-43

 

“With love for skating"

<Talking about Yuzuru Hanyu>

Special Guest: Shoichiro Tsuzuki

 

Due to the COVID-19 pandemic, Yuzuru Hanyu was forced to train independently in Japan, and one of the programs that became a source of light for him during his 'rock bottom' was From Russia With Love, which he had performed during his novice years. We asked Coach Shoichiro Tsuzuki, who guided Hanyu at the time, to look back on the boy who would become a “champion,” and reflect on his growth up to the present day.

(Interview and Text by Tatsuya Murao)

 

Spoiler

—Thank you for your time today. I'd like to ask you about your relationship with Yuzuru Hanyu and your expectations for the future, based on your long coaching experience. First, what did you think of this season's All Japan Championships?

 

Tsuzuki: My student, Yuna Aoki, competed in the All Japan Championships, so I was there and was able to watch everything from practice to the competition. The situation Hanyu faced this time was unique as he had no coach by his side, so he had to create his own training plan, carry it out, and then compete. To achieve such results under those circumstances left me both surprised and deeply impressed by his growth. I've met many skaters over the years, but I don't think I've ever met anyone with such a strong core. It's truly amazing that he’s grown into a young man who can set clear goals and put in the effort to achieve them. I’m sincerely happy. I've never heard of a skater competing for the world championship training without the guidance of a coach. That, I think, is a testament to his growth in mind, technique, and body. (*shin, gi, tai)

 

—Practicing without a coach must come with significant challenges, such as not having someone to point out subtle issues with jumps.

 

Tsuzuki: That’s true. I’ve heard that he faced many hardships during the process of feeling and correcting things on his own. In his case, I think he calculated for himself in what form he would approach the competition. This is just my speculation, but I think at first he planned to include the quad Axel in his program. However, including it might have disrupted the program composition, so he decided to perform a structure he could execute perfectly. I believe that was what he showed at this recent All-Japan Championships.

 

—While many skaters kept the same programs this season because of the pandemic, Hanyu introduced new programs for both the short and free skate.

 

Tsuzuki: He’s the kind of skater who thinks deeply about how to meet everyone’s expectations. In a season where it wasn’t even certain whether competitions would be held, the fact that an opportunity arose for so many people to watch his performance must have made him want to present skating that would truly bring joy to the audience. At the same time, I think he held on to his own fighting spirit, pushing himself to deliver more than 100%. That kind of mental strength is truly incredible.

 

—He mentioned that while training alone during the off-season, there were times when he hit rock bottom. At such moments, revisiting old programs gave him hope. One of those programs was From Russia With Love, which he skated when he won novice B at his first All-Japan novice competition under your coaching.

 

Tsuzuki: Yes, that’s right. I personally have a deep connection with Russia. At that time, I spent about ten years inviting Russian coaches to Japan for seminars during spring, summer, and winter, creating an environment for instruction and exchange. Through that, Hanyu himself experienced many things. I think it’s the same for everyone, things you feel when you’re young leave lasting impressions. From a young age, Hanyu admired Evgeni Plushenko and even copied his hairstyle, so this was a program he skated in that context.

 

—You choreographed this program, right? Why did you choose the title 'From Russia With Love?'

 

Tsuzuki: Actually, at the time I didn’t know the title of the music being used (laughs). A coach from Russia brought the music, but since it was in Russian, I didn’t understand the title, so that’s how I came up with that name.

 

—In the program, phrases from pieces like "Dark Eyes" (Ochi Chyornye) are used, aren’t they?

 

Tsuzuki: Yes, that’s right. During Sano Minoru's time, Russian skaters used 'Dark Eyes' and 'Kalinka' in exhibitions like the NHK Trophy, and they left a deep impression on me. I think my own admiration for Russian figure skating played a big role as well. Even back then, the expressive power of Russian skaters was breathtaking. Russian choreography digs deeply into human emotion and excels at expressing the heart. I believe Hanyu always carried the idea of incorporating that kind of expression into his own skating.

 

—Thanks to the guidance of Russian coaches, Japan’s skating techniques have improved significantly. It seems like that sentiment is reflected in the title of the program as well.

 

Tsuzuki: Yes. Whether singles, pairs, or ice dance, Russian skating excelled not only in technique but also in musicality, artistic sense, and dance. My encounters with Russian skaters and coaches, as well as the instruction I personally received from them, were things I passed on to Hanyu. I also hoped to see those qualities reflected in his skating.

 

(Photo caption: Performing at the 2004 All-Japan Novice Championships. In his first year of Novice B, Hanyu won his first title with the program From Russia With Love, choreographed by Coach Shoichiro Tsuzuki.)

 

—When I watched the video of Hanyu skating 'From Russia With Love' at the 2004 All-Japan Novice Championships, I felt that even back then his ability to express music was outstanding.

 

Tsuzuki: That’s true. From a very young age, he absolutely loved to dance, and he had an exceptional sense for it. Once a week, we had a session to train expression through music. And during that time, he would always release all his energy, dancing and dancing for the entire 60 minutes without even taking a break. Every time music played, he challenged himself: “What choreography will I do?” How should I dance this?” He was constantly challenging himself that way. I think that kind of training has definitely become part of the strength he shows today. The same goes for Shizuka Arakawa. Back then, all of them trained together as a group, learning choreography from Russian coaches. He was truly uninhibited, dancing and expressing himself just the way he wanted to. Even in his performances, he would do things like the Biellmann spin, which was quite rare for a male skater in Japan at the time. That’s the kind of experience with dance and expression he had from young. Even today, when he creates his own choreography, he incorporates such experiences into his performances.

 

—His jumps are also amazing, and I get the impression that he was already good at the Axel even as a novice.

 

Tsuzuki: There is a jump called an “open Axel,” where you rotate with your body more open, and I've had him do a lot of that since he was little. I always told him that “The Axel is the king of jumps,” and that it’s such a valuable element. It became one of his greatest weapons. In fact, when he took bronze at the 2012 World Championships (in Nice), I believe it was because of that Axel. Even now, many people praise his triple Axel as being truly brilliant. Its flow and the beauty of his landing posture are exceptionally impressive.

 

—The training you gave him in his early years became the foundation for what he is today.

 

Tsuzuki: As with any sport, there’s a crucial period for building the basics. How well you develop that foundation determines the path for the future. In that sense, I believe the experiences of his childhood have guided him in a positive direction to who he is today. Also, I'm sure the support of his family and many other people played a major role in nurturing his approach and way of thinking about figure skating, as well as shaping his emotional core. I believe that not only his skating skills, but also the person that is Yuzuru Hanyu, was honed through things like family love, and that is why he is who he is today.

 

—Many people speak about how wonderful Hanyu is as a person.

 

Tsuzuki: Truly, it’s amazing that a 26-year-old young man can speak to so many people the way he does, and that he has the strength and ability to follow through on his words. Even if people have those kinds of thoughts, there aren’t many who can really show that level of integrity and action to the world.

 

—Looking back on Hanyu's competitive career, he's repeatedly faced hardships that would be impossible for most people to recover from. It's surprising how he's overcome them time and time again.

 

Tsuzuki: That's right. If you ask him, I think he would say something like, "I've had experiences different from most people, and even though I've faced difficulties, I haven't given in. Rather, they've honed me and helped me grow." There was the earthquake, then serious injuries afterward, and yet he still managed to become a two-time Olympic champion. There were good times and bad times, and he matured while going through all kinds of experiences. And I think he himself, more than anyone else, feels and takes pride in the value of his own existence, having become someone who, by expressing the appeal of "Yuzuru Hanyu," not only as a figure skater but beyond that, has attracted the interest of so many people.

 

—Was he the type to not shy away from challenges even as a child?

 

Tsuzuki: Yes, he had that spirit of challenge from a young age. Continuing to challenge oneself is tough , and I think it really tests your inner strength as a person. As the saying goes, “Persistence is power,” but he's gone through experiences he couldn't tell others about, had painful times, and built up tremendous effort to get where he is now. That’s something only he can truly feel and understand. I truly feel fortunate to have had the opportunity to meet a skater like Yuzuru Hanyu as a coach.

 

—And it was from those feelings that you told him “thank you” after the Sochi Olympics?

 

Tsuzuki: Yes, truly. When he won the gold medal in Sochi, he showed it to me at the celebration party. I said, “This is the medal I wanted to see you win,” and he replied with something like, “Really? (laughs).” Hanyu is a skater who always carries gratitude toward so many people. Even after the earthquake, every time he performed in ice shows, he would skate with deep appreciation for all the people cheering for him. Through that, he not only honed his technical skills but also grew as a person. The accumulation of all those efforts has taken shape, and what everyone sees today is the result of his overall growth.

 

—After the earthquake, when he could no longer skate at the Sendai rink, he continued practicing at this rink (Yokohama Bank Ice Arena, then Kanagawa Skating Rink) while touring ice shows across Japan.

 

Tsuzuki: Yes, he came here for about six months. At the time, I helped create an environment where he could train as effectively as possible.
On weekends, he would tour the country with ice shows, performing alongside top skaters from Japan and overseas, watching their performances, and absorbing many things. I believe that period was a time of growth in many ways. Even then, he already had the ability to think for himself and make choices.

 

—One hardship he faced in his childhood was the closure of his home rink, Ice Rink Sendai, in 2004, which I heard was a major event for him as a fourth-grade student.

 

Tsuzuki: Yes, that’s true. It was just at a time when his skills were improving, and skating was becoming more fun for him. So to suddenly lose that environment was a tough time for him, and he struggled a lot. When the rink closed, he and I went separate ways, but afterward, he would come here with his mother on weekends, stay overnight, take lessons, and then go back home. That kind of effort is truly remarkable.
His parents had a very clear idea of what needed to be done for him to become stronger, and they followed through on that. That perseverance is amazing. I think the fact that he can now stand on his own so well has a lot to do with that strong family foundation.

 

—I feel that the comments and words Hanyu speaks during press conferences and interviews are very powerful.

 

Tsuzuki: Truly, he’s had the power of words since he was very young. He has the kind of strength as a person that lets him follow through on what he says. I think that’s really remarkable.

 

—Back to the technical aspects, Hanyu often emphasizes that “jumps are part of the program’s expression.” Is that concept something you taught him?

 

Tsuzuki: Well, I think jumps have elements that align with musical expression. Depending on the dynamics and mood of the music, he selects jump types that fit as closely as possible. He has reached the level of thinking that "jumps are also a form of musical expression." That’s an incredibly high level. Since he was little, I've been telling him, "Become an artist," and indeed, jumps should correspond to and synchronize with the musical expression.

 

—Generally speaking, balancing “expression” and “jumps” in a program is considered very difficult, but he’s surpassed that.

 

Tsuzuki: Yes, I think he’s already broken away from that world.

 

—I was surprised when Hanyu said that for this season’s free program, “I didn’t use the Lutz or Flip jumps in order not to break the flow of the music.” Normally, skaters aim for higher base value jumps for more points, but he prioritized expression and deliberately chose edge jumps with lower base values.

 

Tsuzuki: Yes, I think his mindset is something like, “I can express the music with this jump,” “I can do it with this spin,” “I can use this step.” I think this kind of high level way of thinking is ingrained in him. In that sense, in every aspect, he is on an incredibly advanced level, and I think there are probably very few people who can truly understand that. But that’s also his aim. He knows the position he stands in is completely different, and he is determined to pursue victory while doing things his own way. I believe he possesses a very profound thought process and extraordinary creativity.

 

—So he’s thinking outside the framework of the current competition rules.

 

Tsuzuki: Exactly. I feel like a completely different world has taken root in his mind. So, one of the biggest things I’m interested in is how far he’ll expand that world, and at the same time, in what ways he’ll continue to be involved in the world of figure skating from now on. I hope Japan can create an environment that allows him to make the most of that vision. But perhaps, it’s something only he can build for himself.

 

—In terms of doing something unprecedented, he has also said that successfully landing the quadruple Axel in competition is a major motivation. And if he wins a third consecutive Olympic title, that will be another historic achievement in men’s singles.

 

Tsuzuki: Since no one has ever achieved three consecutive Olympic victories before, whether he can make that dream world a reality is the question. I think the coming year will become one major step toward that goal. And for that to happen, I feel that it’s not just about Hanyu alone, it will require a whole support system behind him. When Alexei Yagudin of Russia won the gold medal at the (Salt Lake City) Olympics, I watched the training camp with him, and I saw firsthand how the country of Russia as a whole provided full support to create a champion. I think such a system is necessary. As he now sets out to challenge for a third consecutive Olympic victory, I feel like this will become another dramatic event. And if he can land the quadruple Axel, that could even open the door to the dream of a quintuple jump, from our perspective as experts. So as a coach, one of my hopes for him to become a skater who can create that kind of breakthrough.

 

—What kind of presence do you think Yuzuru Hanyu represents, not just for Japan, but for the entire figure skating world?

 

Tsuzuki: Many people around the world admire the skater Yuzuru Hanyu. I think he’s the kind of presence that makes people dream about what he might do next and fills them with anticipation. Usually, when someone becomes a champion, they often plateau to some extent. But in his case, it’s the opposite. He keeps working to move forward into the future. Through that, he continues to grow and bring joy to others. As long as he keeps skating, I believe he will continue to move forward.

 

—I feel that your guidance during his childhood also played a big role in that.

 

Tsuzuki: Our role as coaches was simply to be one of the “steps” for him to climb up. After that, he just kept climbing higher and higher on his own. My greatest hope is that he will continue to thrive in the world of figure skating without losing his passion.

 

—Lastly, could you share a message of encouragement for Hanyu?

 

Tsuzuki: Dreams. I hope he continues to hold onto his dreams and stays active for a long, long time.

 

 

 

Profile
Born in Aichi Prefecture in 1938. Won the men's singles title at the 1960 All-Japan Junior Championships. After graduating from Nihon University, he pursued a career as a coach, and in 1977, led Minoru Sano to win Japan’s first-ever bronze medal in men’s singles at the World Championships. He also has deep ties to the Russian (formerly Soviet) figure skating world, inviting prominent coaches to hold training seminars and contributing to the development of Japanese figure skating. He has trained many top-level skaters who now support the current skating world. While based at a rink in Sendai, Miyagi Prefecture, he coached Yuzuru Hanyu during his elementary school years.