[2026.07.24] Couture on Ice

[yuzurujenn]

Info: https://otonaristore.com/shops/Couture_on_Ice 

[Book Details]
Title: Couture on Ice Yuzuru Hanyu x Satomi Ito Photobook
Credits: Yuzuru Hanyu (Skater), Satomi Ito (Costume), Toru Yaguchi (Photography)
List Price: 25,000 yen + tax (27,500 yen including tax)
Release Date: July 24, 2026 (Friday)
Publisher: Two Virgins Co., Ltd.

 

Satomi Ito, the designer who has worked on Yuzuru Hanyu's costumes for many years, created a new costume for Hanyu specifically for this project. The costumes, or "haute couture on ice," and his appearance were photographed and recorded. The photography was handled by Toru Yaguchi, a photographer who, like Ito, has been photographing Hanyu for many years. All of the included works were newly shot, taken on an ice rink that was exclusively reserved for the shoot.

 

Not only is skater Hanyu a unique individual, but every aspect of the costumes and photographs is one-of-a-kind. This special endeavor, which no one has ever achieved before, has come to fruition, and a truly unique collection of works is born here.

 

[Set contents]
・Photo book
・Embroidered lace & photo set (in original framed holder)
・Making-of collection
・Concept & Q&A collection
・Making-of & exhibition guide video
・Couture on Ice original file
 

[yuzurujenn]

*Machine-translation. Inaccuracies exist*

 

Source: Photobook pg 3-6

 

 

Costume Concept

 

1. Sakura

Concept: The Arrival of a New Spring

 

Spoiler

If I gather all the light that colors the four seasons in my heart

It all starts here!! A gradient

To the new season with you 

 

Chasing dreams, or being overtaken by them,
when I looked up at the sky, with my burnt-out heart trembling,
I always felt your presence.

The answer is surely simple.

 

If I could live each day like the wind that colors the four seasons

I'm sure I could fly right now to a tomorrow only I know 

The many tears I've shed are messages from a shining tomorrow 

It all starts here!! A gradient 

To the new season with you 

I'll color tomorrow's gradient

 

— Excerpt from "Atarashii Kisetsue Kimito" (To the new season with you) by Elephant Kashimashi

 

 

Rather than a soft or subdued mood, I wanted to evoke an energetic, assertive image of spring. It is wrapped in an atmosphere where passion, hope, and joy occasionally overflow.

 

The music I had in mind was "Atarashii Kisetsue Kimi to" ("To a New Season With You") by Elephant Kashimashi. The “you” that appears in the lyrics refers to Yuzuru Hanyu-senshu, and the story is about Hanyu-senshu creating a new spring as “Yuzuru Hanyu.”

 

The costume design came to me while I was walking around my neighborhood, admiring the cherry blossoms and listening to this song. Amid the spring air, the breeze, and the fluttering sakura petals, the image of Hanyu skating across the ice naturally overlapped with the scenery before me. As I let that vision grow, I gradually shaped it into the design.

 

I also intentionally avoided using a large number of rhinestones, making sakura embroidery the costume's only decorative element. For the outer robe, I used lightweight organza, and layered a thin chiffon fabric beneath it. This creates soft, flowing layers that sway gently with the skater's movements. The trousers were also given just the right amount of volume, with the aim of expressing the feeling of spring air filling the fabric as it billows in the wind, while preserving the lingering atmosphere of the season through a delicate design with a sense of depth.

 

For the hair and makeup, I asked Kita-san, the hair and makeup artist, to base the look on a natural feel, with the image of the hair softly lifting and moving naturally in the wind.

 

 

 

2. Knight of the White Peacock

 

Spoiler

Words on the sketch: Gold accents, Long boot covers, Long wrap skirt

 

This costume wasn't based on a specific story, but rather on the simple idea that "it would suit Yuzuru Hanyu-senshu" and "I would love to see Yuzuru Hanyu-senshu wearing this design."

 

The motif is the white peacock. Pure white peacocks are extremely rare and are considered auspicious creatures that ward off evil spirits. They are also sometimes called "messengers of God" or "celestial maidens."

 

The overall image is that of a prince and a knight. Jodhpur-style boot covers were added, aiming for the atmosphere of a "rare white knight."

 

The shirt is made of silk, expressing lightness and elegance through its delicate sheen and subtle transparency. Gold lace and peacock-motif lace are combined for the decorations, each piece hand-sewn. The addition of sequins and rhinestones creates a subtle sparkle when light hits the garment, enhancing the mystique and glamour of the white peacock.

 

The costume itself has an elegant, soft, and airy quality, so the hairstyle was deliberately chosen to add a slightly cooler impression, with the hair swept back.

 

Personally, I have a strong impression of the cool swept-back hairstyle that Hanyu-senshu showed during his competitive years and in ice shows.

 

 

 

3. Energy

Concept: Living to the fullest

 

Spoiler

Words on the sketch: A close-fitting lace-like top, Pleated flare pants, Red rhinestones

 

This design depicts the power of life that continues on even amidst the opposing processes of “evolution” and “extinction.” In a stifling era, the energy dwelling within a single individual quietly accumulates, eventually drawing in the surroundings, becoming a powerful surge, and exploding outward. It captures the image of that moment and the lingering resonance that follows.

 

The top uses an original seamless knit created specifically for this costume. By eliminating seams, the fit to the body is enhanced, and the knit pattern is designed to subtly emerge in response to Yuzuru Hanyu-senshu’s movements.

 

The pants are inspired by the silhouette of a hakama (traditional Japanese trousers) and are made from 130-denier chiffon with pleating. While maintaining a sense of lightness, the design gives the fabric a substantial volume, allowing it to repeatedly expand and gather with movement, aiming to express both the strength and fluidity of a hakama.

 

For the makeup, I had one clear image from the very beginning: “I want to add a red eyeliner.” The question was how much to apply and how strong the effect should be. Kita-san, the hair and makeup artist, created the perfect balance and finished it beautifully.

 

Regarding the hairstyle as well, I had a seemingly contradictory request: “I want the bangs down, but I also want an atmosphere where the eyes can be seen through the gaps.” Kita-san brought this idea together beautifully, and I feel that the final hair and makeup look truly suited Hanyu-senshu. Personally, it is also one of my absolute favorites.

 

 

 

4. Moonlight Sonata

Concept: Under the Moonlight....

 

Spoiler

One of Ito’s favorite overseas dramas, “Game of Thrones,” has very few East Asian characters. From there, the idea began: “What if Yuzuru Hanyu-senshu existed in that world?”

 

In this imagined story, Hanyu-senshu is a member of the Targaryen bloodline, the family known for riding dragons. However, because he was the only one born with black hair, he hides his existence and lives deep within the forest.

 

He has a gentle nature and does not seek conflict, but he also possesses the courage to take up a sword for those in need. He is an important figure who holds the key to the story, like a key character in an RPG. Although he has the power to summon dragons, his only weakness is sunlight. Because of this, he can only move under the cover of night.

 

The costume is inspired by musical pieces such as "Moonlight Sonata" and "Clair de lune."

 

It expresses a mysterious, mystical character, and one burdened with a somewhat sorrowful destiny.

 

Regarding the bangs, although it's a style with the bangs down, I wanted a different impression from "Sakura" and "Energy," and requested a heavier, more substantial look. For the makeup, Hanyu-senshu himself suggested, “I think adding eyeliner along the lash line would suit the costume,” and the final look was completed based on that image.

 

Including the hair and makeup, Hanyu-senshu’s expression and the atmosphere of the character change so dramatically when he puts on a costume. It once again made me realize what an extraordinary person he is.

 

 

5. Heaven and Earth

 

Spoiler

I asked Kita-san to style the hair in the same way as during his competitive years.

 

Reason for choosing it as the Best Costume:
“Heaven and Earth” is a costume that holds a very special place in my heart. I wanted to preserve it in photographs as well, so I chose this one.”
— Yuzuru Hanyu

 

 

 

6. Fire Bird

 

Spoiler

This costume may have been the most challenging one when it came to the hair and makeup. First, the hair was firmly set with spray, then the hair ornament was attached. At the back, elastic was threaded through, and the sides were carefully secured in place with multiple pins.

 

Regarding the makeup, we discussed, “Since the costume itself is so luxurious, leaving the face bare would not feel right. But making the makeup too dramatic would not be right either.” We proceeded while carefully considering the right balance.

 

Then, Kita-san, the hair and makeup artist, subtly added a gold line to Hanyu-senshu’s eyelids, and the result was truly exquisite. The placement was carefully designed so that the gold would softly catch the light depending on the angle and the direction of his gaze, making it incredibly beautiful.

 

Reason for choosing it for inclusion in the photo book:
“‘The Firebird’ is an extremely luxurious costume created by layering multiple patterns and motifs. In the original design sketches, I had also drawn the hair ornament, so for this photo book, I wanted to preserve the complete finished form, including the hair ornament. That is why I chose this costume.”
— Satomi Ito

 

 

 

[yuzurujenn]

*Machine-translation. Inaccuracies exist*

 

Source: Photobook pg 15-17

 

 

Q&A for Yuzuru Hanyu

Interviewer: Satomi Ito

 

Satomi Ito, who has created Hanyu-senshu’s costumes for many years, asks him questions about his thoughts on the costumes created for this photo book, as well as his feelings toward programs and costume design.

 

Spoiler

Q: Among the three costumes created for this photo book, is there one that is your favorite?

 

A: I can’t choose just one. I like them all.

 

Q: During the photo shoot, which costume was the most difficult in terms of poses and movements?

 

A: They were all challenging in their own ways, and I moved with a different feeling for each one. Basically, I couldn't see the camera, and I was constantly moving at high speed, so I think it was difficult to match my gaze with it.

 

Q: These three costumes each have a completely different character. If you were to give each one a “name” or “personality,” what kind of image would come to mind?

 

A: I tried to express the concepts that Ito-san designed for each one.

 

Q: How did you feel about wearing the "Fire Bird" hair ornament during this photoshoot? (I believe this may have been your first time wearing a hair ornament)

 

A: I was once again reminded of how much wind pressure affects skating movements. I skated while paying the utmost attention so that the hair ornament would look beautiful.

 

Q: What is the most important thing you consider when it comes to costumes? (Functionality, design, etc.)

 

A: Even if a costume fits the worldview of a program, it becomes meaningless if I cannot move in it. Conversely, if we focus only on functionality, it could lead to costume designs becoming limited to similar styles, so I think balance is important. Also, personally, I pay attention to the position of the waist. Especially for programs with intense jumping elements, like the belt of karate or judo, having the right amount of support and tightness in the right place can make jumps easier, or conversely, can lower their success rate. So I try to be conscious of that.

 

Q: Are there differences between costumes for competitions and those for ice shows?

 

A: I think the balance between design, lightness, and functionality changes. However, honestly, even after turning professional, I still perform very intense movements, so I continue experimenting and searching for how far I can push things. There are also times when I adjust the choreography depending on the costume. Every time, I continue searching for ways to deliver something better.

 

Q: Have there ever been costumes that, in a good way, surprised you by being a perfect match once you skated in them? (Including costumes from your competitive years)

 

A: There isn’t really anything like “once I skated in it.” In the first place, we go through trial and error beforehand to make sure it fits.

 

Q: Hanyu-senshu, I believe you also sometimes think about costume designs yourself. Do the outlines of your designs come to you while you are skating on the ice? Or do they appear during random moments in your everyday life, completely unrelated to your skating?

 

A: It varies. Some ideas come to me while I am creating my own choreography, some while I am skating choreography that I have been given, some simply from listening to music, and some while I am watching videos of my practice sessions. However, there are also times when I only have a vague image in my mind, and I cannot know whether it truly matches the feeling of the program’s movements until I actually skate it. Each time, I consider various possibilities, expand the image, and often have revisions made.

 

Q: When you listen deeply to music, do you ever see it appear as “colors” or “patterns”?

 

A: Yes. In fact, it’s not limited to music for my programs; I always have that kind of sensation with any music I listen to.

 

Q: At what point do you become certain that “no color other than this one” can exist for a new program?

 

A: From the very beginning. But even then, there is a lot that cannot be known until I actually skate. I also consider whether the color has meaning within the lighting and staging.

 

Q: Q: When you stand on the pure white ice, do you imagine the design from an overhead perspective, considering how your costume will “stand out”?

 

A: I do. Because it is a costume made for figure skating.

 

Q: When you look back at your old costumes, are there times when you think, “If I were designing this now, I would change this part (of the design),” and want to make revisions?

 

A: I see those things too as part of that costume’s character.

 

Q: When you see a finished costume, how closely does it match the “ideal image” you had in your mind? (Including costumes from your competitive years)

 

A: It depends on the costume. However, in the end, I need to be nearly 100% satisfied and reach a state where there are no compromises. Otherwise, I cannot stand in front of everyone, I cannot stand on the ice, and I would feel apologetic to the music, the program, the costume, and everyone watching. That is why I continue through trial and error until it reaches a state where I can truly be satisfied.

 

Q: When a season or ice show ends and you take off that costume, besides “thank you,” what words would you like to say to it?

 

A: “See you again.”

 

Q: For you, when you think “a Satomi Ito costume is this one,” is there a particular costume that comes to mind?

 

A: I cannot choose. They are all very much Ito-san’s creations, and I think they are “children” that only Ito-san could have brought into existence.

 

[Wintek]

*Machine-translation. Inaccuracies exist*

 

CONTENTS

 

02  Costume Concept

08  Photobook Concept  Text by Satomi Ito

15  Q&A with Yuzuru Hanyu

Interviewer: Satomi Ito
 

Costume Concepts

Spoiler

Three costumes newly created by Satomi Ito for inclusion in this photo book: Sakura, Knight of the White Peacock, and Energy.

Moonlight Sonata, which Ito previously gave to Yuzuru Hanyu.

Heaven and Earth, which Hanyu named as his best costume among his competition costumes.

Fire Bird, which Ito selected for inclusion in the photo book from among Hanyu's costumes for ice shows.

Six costumes appear in Couture on Ice.

Here, we introduce the concepts behind the costumes, the inspiration for their designs, and the reasons why Hanyu and Ito each selected the costumes they did.

Written by Satomi Ito

 

Sakura

Spoiler

Concept: The arrival of a new spring

If I gather into my heart all the light that colors spring, summer, autumn and winter,
this is where it all begins!!
A new season, a new beginning, with you
Chasing dreams, or being overtaken by them,
when I look up at the sky, making my scorched heart tremble,
I have always felt you there.
The answer should be so simple, surely.
If only I could live each day like the wind that colors spring, summer, autumn and winter,
I should be able to fly away right now, to a tomorrow that only I know.
The many tears I have shed are messages
from the shining tomorrows ahead.
This is where it all begins!!
A new season, with you
I'll color tomorrow's gradation.

— Elephant Kashimashi

“With You, Toward a New Season”
(excerpt)

Rather than a soft, gentle image of spring, I envisioned an aggressive spring[1]. I wanted it to carry an atmosphere in which passion, hope, and a sense of fun occasionally overflow.

The music I had in mind was Elephant Kashimashi's “With You, Toward a New Season.” The “you” that appears in the lyrics is Yuzuru Hanyu, and the story is about Hanyu, as “Yuzuru Hanyu,” creating a new spring of his own.

For the costume design, I listened to this song while taking a walk around my neighborhood and looking at the cherry blossoms. As I did, the image of Hanyu skating on the ice naturally overlapped with the air and wind of spring and the falling cherry blossoms. I expanded upon that image as I gradually gave it form.

I also deliberately refrained from using an abundance of rhinestones, limiting the decoration to cherry-blossom embroidery alone.

For the haori-like outer layer, I used lightweight organza, and layered thin chiffon underneath it, creating layers that sway softly in response to movement. I also gave the pants a moderate amount of volume, with the aim of preserving the feeling of spring air catching in the fabric and making it flutter, as well as the lingering afterimage[2] of that movement. I sought to create a delicate expression with depth.

For the hair and makeup, I told Mr. Kita, the hair and makeup artist, that I wanted to base it on a natural feeling, with the image of Hanyu's hair moving softly and naturally as it catches the wind.

Knight of the White Peacock

Spoiler

There isn't a specific story behind this costume. Rather, it was born from a simple idea: “This would probably suit Yuzuru Hanyu” and “I want to see Hanyu wearing a design like this.”

The motif is the white peacock. Pure-white peacocks are extremely rare, and they are also called “messengers of the gods” or “celestial maidens.” They are cherished as auspicious beings that ward off evil influences.

The overall image is that of a prince and a knight. I added jodhpur-boot-style covers around the feet, aiming for an atmosphere like that of a “rare white knight.”

For the shirt, I used silk, expressing lightness and elegance through its delicate sheen and subtle translucency. For the decoration, I combined gold lace with peacock-motif lace, finishing each piece by hand-stitching it onto the costume. By adding sequins and rhinestones, it catches the light and glimmers subtly, bringing out the mystery and splendor of the white peacock.

Since the costume itself has an elegant, soft, and gently floating impression, I deliberately added a slightly cooler feeling to the hairstyle, styling the hair swept back from one side.

Personally, I have always had a very strong impression of how cool Hanyu looked with the hairstyle he sometimes wore during his competitive years and at ice shows, with the hair swept back from one side.

Energy

Spoiler

Concept: To live one's life to the fullest[3]

This costume depicts the power of life that continues onward nevertheless, within the opposing processes of “evolution” and “extinction.” In an era of stagnation and confinement, the energy residing within a single individual quietly accumulates, eventually drawing everything around it in as it becomes a great swell, before finally exploding outward. I envisioned that moment and the resonance that remains afterward.

For the top, I used an original seamless knit specially produced for this costume. By eliminating seams, I increased its ability to fit closely to the body, while designing it so that the knitted pattern would subtly emerge in response to Yuzuru Hanyu's movements.

For the pants, I used the silhouette of hakama as my inspiration, applying pleating to 130-denier chiffon. While maintaining a sense of lightness, I gave them substantial volume, so that they repeatedly expand and contract in response to movement. I aimed for an expression that combines the strength and fluidity characteristic of hakama.

For the makeup, the one image I had strongly fixed in my mind from the very beginning was “I want to put red eyeliner on him.” Mr. Kita, the hair and makeup artist, found the perfect balance in determining how much to use and how strong to make it, and created it beautifully.

For the hairstyle as well, I made what was essentially a contradictory request: “I want the bangs down, but I want his eyes to be visible through the gaps.” Mr. Kita brought that request together into a wonderful result, and I think the hair and makeup ended up suiting Hanyu extremely well. Personally, this is one of my very favorite hair and makeup looks.

Moonlight Sonata

Spoiler

Concept: Under the Moonlight…

One of Ito's favorite overseas dramas, Game of Thrones, has very few East Asian characters. This led her to imagine: “What if Yuzuru Hanyu existed in that world?”

He is descended from the Targaryen family, the clan that rides dragons. However, because he was the only one born with black hair, he lives deep in the forest, hiding his existence.

He has a gentle personality and does not seek conflict, but he also possesses the courage to take up a sword when someone is in trouble. He is an important character who holds the key to the story, something like a key character in an RPG.

He possesses the power to summon dragons, but his one and only weakness is sunlight. For that reason, he can only act at night.

The costume was inspired by music such as “Moonlight” and “Moonlight Sonata.”

It expresses the image of a mysterious, enigmatic figure who carries a destiny tinged with a certain sadness.

For the bangs, although I wanted to keep them down, I asked for a somewhat heavier feeling because I wanted to create an impression different from Sakura and Energy. As for the makeup, Hanyu himself suggested, “I think eyeliner along the edges of the eyes would suit the costume better,” and the look was completed based on that image.

Including the hair and makeup, Hanyu's expression and the atmosphere of his character change so dramatically when he puts on a costume that I was reminded once again of what an extraordinary person he is.

Heaven and Earth

Spoiler

I asked Mr. Kita to give him the same hairstyle he had during his competitive years.

Reason for choosing it as his best costume:

“Heaven and Earth is a costume that I have a lot of emotional attachment to, and I wanted to preserve it in photographs as well, so I chose it.”

— Yuzuru Hanyu

Fire Bird

 

Spoiler

This costume may have been the most difficult when it came to the hair and makeup. First, we firmly set the hair with hairspray before attaching the hair ornament. At the back, we threaded elastic through it, while on the sides we carefully secured everything in place with pins.

As for the makeup, we discussed how “Since the costume itself is so elaborate, having nothing at all wouldn't feel right. But making the makeup too flashy wouldn't feel right either.” So we proceeded while giving a great deal of thought to finding the right balance.

That's when Mr. Kita, the hair and makeup artist, subtly added a gold line to Hanyu's eyelid. The result was truly exquisite. He positioned it so that, depending on the angle and where Hanyu was looking, the gold would suddenly catch the light. It was extremely beautiful.

Reason for choosing it for inclusion in the photo book:

“Fire Bird is an extremely elaborate costume, built up by layering multiple patterns and motifs. The hair ornament was also included in the original design drawing, so for this photo book, I wanted to properly preserve the completed form of the costume, including the hair ornament. That's why I chose this costume.”

— Satomi Ito

Translation Notes

Spoiler

[1]「アグレッシブな春」 could also be translated as “an energetic spring,” but Ito contrasts it with 「しっとり系」, which is the softer, more mellow, sentimental kind of spring image one might conventionally associate with cherry blossoms. “Aggressive spring” sounds almost contradictory in English, but it could be intentional to convey: spring as force, momentum, passion, and forward movement, rather than spring as quiet beauty.

[2]「余韻」 translated as “lingering afterimage” can also be “lingering impression,” “resonance,” or “afterglow.”

[3] The verb 生きる is “to live,” and 〜切る attached to a verb means doing something completely, through to the end, to the fullest extent. So there is a sense of: live all the way through, live completely, live one's life to its fullest, exhaust one's capacity to live. It isn't merely “live fully” in the wellness/self-help sense. There's something almost physical and finite about it: to use up one's life by living it completely.

 

---

Photo Book Concept

Couture on Ice consists of a total of six costumes, with the work as a whole taking on a narrative structure through three chapters.

In each chapter, a newly created costume is skilfully paired with a costume from the past,

creating a sense of the passage of time and the evolution of expression.

Written by Satomi Ito

Sakura

Sakura Circling the New Chapter and the Final Chapter

Costume 01 — Sakura
Costume 02 — Heaven and Earth

Spoiler

By contrasting two forms of the cherry-blossom costume—the newly created Sakura costume and the Sakura costume in which Hanyu Hanyu fought through his competitive career—this chapter depicts Yuzuru Hanyu's journey and growth, as well as his journey toward new forms of expression.

The beauty of cherry blossoms surrounded by the light of spring is not merely a motif for the costumes; it has become a symbol of the journey between the past and the present, the final chapter and the new chapter.

From the passion and traces of battle that Hanyu showed on the ice, toward a soft and new expression of the cherry blossom.

The passage of time and the changes in expression are beautifully brought to light.

Moon

The Luminous Moon and the Hazy Moon

Costume 03 — Moonlight Sonata
Costume 04 — Knight of the White Peacock

Spoiler

One is a luminous moon, radiating clear light across the night sky. The other is a moon that quietly stands in the darkness.

Although they are both the same moon, their appearances embody different expressions: light and shadow, radiance and silence.

It is almost as though they were another self existing within Yuzuru Hanyu.

The figure who radiates a powerful light on the ice, and the figure who quietly confronts his inner self.

Strength and tranquility, radiance and shadow; these two are not things that oppose one another.

Rather, they respond to each other as they form a single existence. Just as the moon of light and the moon of darkness float together in the same night sky, the two figures quietly overlap, gradually weaving a single story.

Rouge

The Red of Reincarnation, the Flame of Burning

Costume 05 — Fire Bird
Costume 06 — Energy

Spoiler

Rouge is a chapter centered on the life force and cyclical nature embodied by the color red.

A fire bird, and a costume imbued with burning passion.

What the two figures share is that they are symbols of life that does not end, but continues to burn.

The phrase accompanying the title, “The Red of Reincarnation, the Flame of Burning,” expresses the color of life that continues endlessly in its cycles, and the red of passion burning intensely.

Even when a fire appears to have burned itself out completely, it is reborn as a new flame.

It is much like the cycle of life that continues moving forward even beyond an ending.

The passion, fighting spirit, and power of expression that Yuzuru Hanyu has shown on the ice.

In this chapter, the beauty of “living” and “living one's life to the fullest” is brought to light within a world of burning red.

Just as a flame continues without disappearing, changing its form as it goes, his expression is not a story of an ending, but a story that continues onward, passing into a new life.

---

Q&A for Yuzuru Hanyu

Spoiler

Interviewer: Satomi Ito

Satomi Ito, who has been creating Hanyu's costumes for many years, asks Hanyu questions about the costumes.

They discuss his impressions of wearing the new costumes for this photo book, as well as his thoughts on programs and costumes.

Q: Of the three costumes created for this photo book, is there one that is your favorite?

A: I can't choose just one. All of them.

Q: During the shoot, which costume was the most difficult in terms of poses and movements?

A: Each one was difficult in its own way, and I moved differently in each one. Basically, I had to keep moving at high speed while being in a situation where I couldn't see the camera, so I think matching my gaze to it was probably the most difficult part.

Q: The three costumes each have completely different expressions. If you were to give each one a “name” or “personality” in your mind, what kind of images come to you?

A: For each one, I tried to express the concept that Ito-san had designed.

Q: What was it like wearing the hair ornament for Fire Bird during this shoot? (I believe this may have been your first time wearing a hair ornament.)

A: It made me realize once again just how much wind pressure skating movements create. I skated while taking the utmost care to make sure the hair ornament looked beautiful.

Q: What is the thing you pay the most attention to when it comes to costumes? (Functionality, design, etc.)

A: Even if a costume fits the world of a program, it becomes meaningless if I can't move in it. On the other hand, if we focus only on functionality, there's a risk of becoming biased toward the same kinds of costume designs, so I think balance is important.

Personally, I also pay attention to where the waistline sits. Especially in programs with intense jumping, having something tightened in the right position, like the belt of a karate or judo uniform, can make it easier to jump, while the wrong position can conversely make the probability of successfully completing the jump more likely to decrease. So that's something I pay close attention to and try to feel for.

Q: Are there differences between costumes for competition and those for ice shows?

A: I think the balance between design and things like lightness and functionality changes, but honestly, even after turning professional, I still do some pretty intense movements, so I'm continuing to feel my way through how far I can push the costume design.

Sometimes I even change the choreography of a program depending on the costume. Every time, I'm continuing to explore how to deliver something better.

Q: Have there been any costumes—including ones from your competitive years—that pleasantly surprised you in the sense of “Once I skated in it, it matched perfectly”?

A: Not in the sense of “once I skated in it.” In the first place, I experiment and work things out beforehand so that it will fit.

Q: I imagine there are times when you yourself think about costume designs. Does the outline of a design come to you while you're skating on the ice, or does it suddenly emerge in an unrelated moment in everyday life?

A: There are all kinds of patterns. Sometimes something comes to me while I'm choreographing myself; sometimes when I'm skating choreography that someone else has given me. There are also times when something comes to me simply from listening to the music, or when I'm watching videos of my practice that I've recorded.

However, there are also things that have only vaguely come to me, and I don't know whether they actually fit the atmosphere of the program's movements until I try skating in them. So each time, I consider various things, expand the image, and there are many occasions when I have the design revised.

Q: When you're listening to a piece of music repeatedly, does the music ever appear before your eyes as “colors” or “patterns”?

A: It does. Rather, even when it's not a program's music, I constantly have that kind of sensation with music I'm simply listening to.

Q: With a new program, at what point does the certainty come to you that “there's no other possible color than this one”?

A: From the very beginning. But that's another thing where you can't know a lot of it until you actually skate. I also think about whether the color has meaning within the lighting and staging.

Q: When you stand on the completely white ice, do you visualize from above how your costume will “stand out” against it?

A: I do. Because it's a costume for figure skating.

Q: When you look at your old costumes, do you ever think, “If I were designing this now, I'd do this part differently,” and want to modify them?

A: I interpret those aspects too as being part of that particular child.

Q: When you see a finished costume, roughly what percentage does it match the “ideal image” you had in your head? (Including costumes from your competitive years.)

A: It depends on the child.

But in the end, I can't stand before everyone or stand on the ice unless I'm satisfied with it to nearly 100%, with nothing compromised. Otherwise, I'd feel sorry toward everyone involved, and toward the music, the program, the costume, and the audience. So everyone works through repeated trial and error and keeps refining it until it reaches a state where I can be absolutely satisfied.

Q: When a season or ice show ends and you take off that costume, what would you like to say to it besides “thank you”?

A: “See you again.”

Q: Among your costumes, is there one that makes you think, “When I think of a Satomi Ito costume, this is the one”?

A: I can't choose. They're all very much Ito-san, and I think they're all children that only Ito-san could have created.