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yuzurujenn · 1 year ago

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[2023.11.11] AERA Special Edition - Yuzuru Hanyu's COSTUMES by Satomi Ito

Vividly colouring the ice The World of Satomi Ito's Costume Designs

Program Itsuka Owaru Yume PROLOGUE / November 4, 2022 Hanyu sent me an image of the colour, and I proposed several design options. I had heard in advance that it was a program without jumps, so I thought it would be nice to have fluttering sleeves and a long hem like a goldfish. To avoid a flat appearance from a distance, I gathered drapes from the front to the back. Since the sleeves and hem are long, I wanted a sense of airiness, so I designed it with an open back. The colours are airbrushed in varying shades of light blue and lavender.

Program CHANGE PROLOGUE / November 4, 2022 Given the unique arrangement of this piece, I wanted to create a modern, asymmetrical costume rather than a completely Japanese design. I used silk fabric with gold thread embroidery on a black base, which I had purchased years ago at first sight and had kept in storage. It was a precious material, so I hadn’t been able to use it until now, but I believe it would be fulfilling for the fabric to be used in Hanyu’s costume. The left shoulder features a woven decoration, and I paired it with a faux leather belt at the waist to avoid an all-black look.

Program Ashura-chan GIFT / February 26, 2023 This is a very simple shirt costume compared to what I’ve made so far. Hanyu mentioned, "I want a red satin-like shirt with a glossy finish." Since satin shows stains when it gets wet, I searched for fabric that wouldn’t show stains as much. “There’s a choreography that involves lying on the ice, so that helps,” he said. Because it’s a simple costume, I focused on the quality of the materials as much as possible. The tie was also Hanyu’s request. I initially prepared a blue tie for the fitting, but he sent me an image saying, "I’d like a tie with this pattern." I used that as a reference to design the pattern, printed it, and created a tie specifically for "Ashura-chan."

Program One Summer’s Day GIFT / February 26, 2023 Hanyu suggested, "I’d like a light blue gradient effect at the split hem," so I incorporated that into the design. For this costume, I had the image of Haku (the white dragon) from "Spirited Away" in my mind. I wanted details that evoke the scales of a dragon, so I prepared three different circular cuts of organza material. I made many pieces in different sizes and colours, attaching each one individually. I also chose fabrics with a translucent quality. I layered the sleeves and added extra layers to the hem. I think the shimmering of the fabric when it moved gave it a dreamy appearance.

Program The Firebird GIFT / February 26, 2023 When Hanyu told me his image of the song, the first thing I thought was "I want to add large wings." In the initial design I presented, I had added a hair ornament, but I clearly remember Hanyu contacting me, saying, "It will be distracting during the performance, so I don’t think it will work." The costume for "The Firebird" has a strong red impression, but at first it was a bit more white. Hanyu requested, "I want to keep that while adding more colour," so I reflected that in the design, using emerald as an accent and incorporating peacock motifs in various places.

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Costume Designer: Satomi Ito

Never wavering from the core, Always at the center.

Accompanying Creator vol. 1 The exquisite and glamorous costumes beautifully elevate the world contained within the program. Costume designer Satomi Ito has been pursuing a vision of “costumes that only Yuzuru Hanyu can pull off” since the beginning of their collaboration, continuously creating exclusive costumes that belong solely to each piece of music.

-Including his competitive era, you have designed many costumes for Hanyu. When did you first meet him?

In 2014, when Hanyu became a gold medalist at the Sochi Olympics, he contacted the company I was working for at the time, asking for an exhibition costume. There were other designers at the company, and many wanted to create costumes for him. A few of the senior designers and I submitted design sketches. Hanyu chose my design, which led to us creating both competitive and exhibition costumes together.

-The first costume you made was for "The Final Time Traveler." Hanyu performed in this costume at the Grand Prix Final exhibition. What do you think attracted him to your design sketches?

You should ask him directly (laughs). Although he chose my design, he mentioned that the colour wasn’t quite right, so I had to revise it. I created three new sketches to show him in person during the fitting, and he selected one on the spot to begin production. Once the design was confirmed, we would discuss colours and materials via email. Sometimes, he sends me image references or colour preferences. Depending on the costume and the timing, it usually takes about two months to create. Since the music and program concepts are determined before the design, deadlines can be tight.

-You once described Hanyu as 'a designer in his own right.'

For example, Hanyu decided almost everything about "SEIMEI". He had specific requests regarding the colours and wanted the design to stay true to the kariginu. Initially, I had a completely different idea, so in that sense, I see Hanyu as a kind of designer. However, it’s my responsibility to create the patterns, sew the pieces, and add embellishments, so I focus heavily on the details. Since the athletes are the ones who see the costumes up close, I want to create something that they will find impressive.

-Working with a skater who continuously evolves—winning consecutive Olympic titles, challenging the quadruple axel, and performing a solo show at Tokyo Dome—must be inspiring, right

Hanyu is always pursuing higher goals, and naturally, the costumes he wears should also progress in terms of lightness and materials that allow for movement. The first competition costume I made for him was for “The Phantom of the Opera” (2014-15), which weighed about 850 grams, and looking back, that feels a bit heavy. Since then, I have been exploring ways to use materials, and now most of my costumes weigh around 500 grams. The costume for “Introduction and Rondo Capriccioso” (2021-22) is just slightly over 500 grams.

[Having stepped away from competition allows for more creative freedom]

-Behind the glamour, there's meticulous adjustment down to the gram.

I think athletes find practice wear the easiest to move in, but that alone isn’t enough for competition. I need to design costumes that express the program's worldview while also pursuing functionality. Honestly, design and functionality often conflict, and it’s common to feel, “I want to do this, but I can’t.” However, the most important factor is whether they can perform, so I focus on that when creating.

-Has there been any change since Hanyu stepped away from competition?

It feels refreshing not to worry about weight. I realise, “Now that he’s out of competition, I can design more freely.” For example, in "The Firebird," after hearing Hanyu’s image of the music, my first thought was that “I want to add large wings,” so I designed the costume accordingly. For "Itsuka Owaru Yume," I had heard in advance that it was a program without jumps, so I imagined fluttering sleeves and a long hem like a goldfish. I’ve been able to take on various challenges. Just because he turned professional doesn’t mean he’s stopped jumping; he’s always moving, spinning, and the ease of movement remains a priority. However, sometimes he says things like, “This program doesn’t have jumps, so it’s okay if it’s a bit heavier,” which opens the door to new challenges (laughs). It’s exciting to explore a wider range of fabrics and decorations.

[A strong commitment to "costume for this program]

-When do you feel Hanyu's unique attention to detail when working on costume production?

Although he has never said it directly, I think he is conscious of “a costume that can only be worn by Yuzuru Hanyu.” While style varies from person to person, everyone considers how to design to make the legs look a bit longer or more proportionate, right? Hanyu is tall, so he looks good. There are designs that can only be proposed because it’s him, and he can carry off even the most extravagant costumes. The purple version of "Origin" costume is a prime example. Inspired by Nijinsky’s “Le Spectre de la Rose,” I added three-dimensional rose decorations and butterflies that weren’t in the original design sketch. This design could only be proposed thanks to Hanyu’s style, skill, and the program. I probably wouldn’t think of such design on any other skater. Even when creating costumes, I often think, 'This would be difficult for anyone other than Hanyu.' I also wonder if Hanyu himself thinks, “If it were me, it should be fine.”

-Above all, he is also a skater who values the music.

He has a strong desire for “a costume made solely for this program,” which he has mentioned during fittings. He holds a clear concept of his program, so if he feels something is off with the design, he’ll say, “This is the image I have in mind,” and then I will make adjustments and work on it.

-You’ve been involved in creating costumes for Hanyu for nearly ten years. They are all delicate and beautiful, but are there any costumes that haven’t been revealed yet?

When I propose designs, I usually create 2 to 4 sketches. Sometimes, among the ‘rejected designs’, there are personal favourites, and I hope to unveil those on another occasion. I also think it’s okay not to be confined to figure skating costumes. In fact, I’d love to create costumes outside of figure skating (laughs). My recent goal is to create haute couture just for Hanyu and have it photographed by Mika Ninagawa.

-As the executive producer of "GIFT," Yuzuru Hanyu created a spectacular show.

After all, it’s crucial not to let your core waver. I think it's truly amazing that Hanyu takes the lead and keeps himself at the center of it all. I look forward to his future ice shows and performances.

Source: AERA Special Edition - Yuzuru Hanyu: The Solitary Driving Force pg 80-85 Info: https://www.amazon.co.jp/exec/obidos/ASIN/4023323500/

#hanyu yuzuru #yuzuru hanyu #羽生結弦 #figure skater #figure skating #interview #satomi ito #aera #magazine #machine #translation

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yuzurujenn · 1 month ago

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[2024.12.07] Echoes of Life Official Pamphlet Interview

YUZURU HANYU Interview

Q: How did the theme and concept of "Echoes of Life" come about? A: At first, I roughly thought of using philosophy as the theme. Later, when thinking about what kind of story to tell, I came up with around seven potential ideas in my mind. After filtering them, I ultimately settled on philosophy.

Q: After "GIFT" and "RE_PRAY," how did these experiences influence the theme and subject matter of this new project? A: "GIFT" was a bit like an autobiography. Through my existence, it told the preciousness of dreams. Everyone has dreams, but they might have forgotten them, and working towards those dreams is the meaning of my existence, something along those lines. "RE_PRAY," on the other hand, was about challenging how to express something I particularly like and elevate it along with the theme I wanted to convey. When creating "ICE STORY 3rd," I felt that the game theme in "RE_PRAY" had a strong impact, so the attention to the theme and subject matter would be stronger. I thought that just having a story might not be enough. I considered whether I should use a book, a game, or a town as a medium. After thinking about various possibilities, I concluded that a novel format would be the best, with philosophical elements woven into it.

Q: This time, you can read the storybook before the performance. A: This time, I decided to write it in the style of a novel, using literary style including punctuation and sentence structure, rather than my own conversational tone. Up until now, while I haven’t written in a poetic form, I have directly organized my personal feelings or the emotions of the characters into a story. But this time, I’ve added more situational details and descriptions to the story line. I hope that, by understanding these aspects, the audience can experience the images and performances at the same time. Of course, we’ve thought about how to make the audience feel something when watching the performance even if they don’t know the story. But if they know the story, they’ll be able to understand the details of "Nova" (the protagonist) and the world more deeply.

Also, I feel that reproducing exactly what I wrote might come across as cheap or too indulgent. While thinking about how to present it as a skating performance and create the visuals, I decided to leave the textual descriptions to the text itself. It might be better if the audience reads the storybook first.

Q: How did you write this story? A: I wrote it by hand. I always write by hand, even for "GIFT" and "RE_PRAY." I scribble on loose-leaf paper or blank sheets. Although I don't record the material exactly as it is, I often accumulate the content I want to tell and quotes that have influenced me in the notes app on my phone, and then write based on that. Writing by hand feels like a more direct connection to the brain, and it's easier for the brain to give instructions. Also, when typing on a phone or computer, predictive text comes up, and I feel like my words stop being my own. I don’t want to be led by predictive text, so I prefer writing by hand. Then, as I read it in my mind, thinking "maybe I should delete this part," I type it little by little into the computer. This time, I actually already had a story written, but after deciding on the title 'Echoes of Life,' I started over and wrote a new story from scratch. From writing by hand to typing and editing, I stayed up for three nights straight to complete it.

Q: Writing the story in three days or staying up for three nights is pretty intense! A: This time, I really wanted a cohesive story, so I thought, "If I don’t finish writing it now, the imagery of the story in my mind will collapse." Of course, it’s also because I had a deadline… If I didn’t submit it soon, it’ll be a problem! (laughs)

Q: What was your basis for writing the story? A: For "GIFT," I was influenced by lyrics from songs I liked. In "RE_PRAY," I was more influenced by instrumental music and the dialogue from games than by lyrics. This time, I read about four philosophy books and five novels. I’m not really someone who excels at writing, and I only know how to write in a conversational tone. The words that come from my heart are very close to how I speak, and I thought if I just wrote them directly as a novel, it would feel too rough. Writing in poetry allows for that kind of expression, but if I'm writing a prose, I need to first internalize the structure of an essay, so I read several novels that interested me. I'm not good at continuously reading text, so I listened to the book's narration while following along with the written words, jotting down parts that I thought, "Ah, I really like this." Of course, this time, I was also influenced by games and lyrics.

Q: What books did you read? A: The books that influenced me the most this time were " The Trouble with Being Born " (by Emil Cioran) and "Underwater Philosophers" (by Rei Nagai). I combined the philosophy of life I learned in university with questions I’ve been pondering since young, like "What is life?" and "What am I?" Through this process, I realized that I couldn’t write the story without learning more, so I revisited philosophy and based the story on that knowledge.

Q: Are there new programs this time? A: Yes, there are quite a few!

Q: That’s very exciting! Why did you decide to include so many new programs? A: I just thought, "This song fits perfectly here," and chose the music accordingly. It ended up naturally turning out this way. When I worked on RE_PRAY, I arranged the songs the same way. But honestly, the theme of RE_PRAY was, in some ways, a bit bold. Since it was based on a game theme, it was very different from GIFT’s style, so if I had made it entirely based on my own interests, it might have alienated the audience that follows figure skating. So, although I had a lot of songs I wanted to use, I ultimately decided to focus on showcasing the game elements in the first half, and in the second half, I went with a more traditional style, integrating more figure skating-like programs. This ended up aligning with what I wanted to express, which was the duality of life. But this time, since it's a completely new story, I felt that using new programs was the best way to present it. Also, I seem to have become less concerned with overthinking things now. Or perhaps, because this time isn't just focused on my own interests, I thought, "This program works well" and "This song is nice too," so the song selection process went very smoothly.

Q: What is it like working with MIKIKO-sensei and the team to create ice shows? Since 'RE_PRAY' was a tour, we made many adjustments and identified many areas that needed attention. I also felt there were many aspects that required further evolution. Because I’ve spent a lot of time involved with stage direction, I’ve become able to view my performance not only from an acting perspective, but also start thinking, 'Maybe this lighting would be better,' or 'It would be better to add this program after this scene,' and even when creating the story, I think, “It should be shown this way.” I’ve really started to approach things from a more overarching perspective.

Additionally, I feel that I’ve become more reliant on others. There are many more situations where I think, 'This is not my area of expertise, so I’ll let go and entrust my worldview and concept to everyone.' On the other hand, there are places where I absolutely cannot compromise, and this tug-of-war is also a troublesome dilemma, but I’ve started to be able to think deeply about it.

Q: The premiere of Echoes of Life is also your 30th birthday! Happy Birthday! A: Thank you, but it's not actually my birthday yet (laughs).

Q: What are your thoughts on the premiere coinciding with your birthday, and turning 30? A: Of course, I have many thoughts. First, since Echoes of Life is themed around life, birth, and growth, I feel like the overlap with my birthday gives it a fateful feeling. From that day onward, Echoes of Life begins, and I think this mirrors the beginning of my own life in some way. Plus, it starts on a birthday that’s a multiple of 5 or 10, which makes it feel even more like destiny. As for turning 30... well, it’s more like the shift from “almost 30” to “in my 30s” (laughs).

Q: It's exactly 30, huh? A: Yeah, but I don’t feel like my body is deteriorating as I once imagined, and I can still skate so well! And even in this state, I am still needed by many people, and this once again makes me feel so touched, or rather, so happy. I feel that I must push myself and work hard!

Q: I only mentioned your turning 30 because it’s a nice round number, but honestly, I don’t feel your age. What I feel is that since the RE_PRAY tour, you’ve been strengthening your body again, and you seem even stronger now. A: As I got older, my expressiveness deepens, which is something that can happen in any field. But my foundation, the most important part, is as an athlete. I’ve been figure skating for 25 years, and that part of me continues to evolve even at the age of 30. That makes me really happy, and I’m able to still have hope for myself, or rather, I feel anticipation for the future.

Q: By the way, do you remember anything from when you were 20? A: Of course I do! It was during Barcelona Grand Prix Final. I was super restless on my 20th birthday, as if the world would change just because I turned 20. That’s how anxious I was (laughs).

Q: Did the world change? A: Not at all (laughs). After that experience, I feel that even if it’s my 30th birthday, a year or a day will just pass by as a commemoration, and basically, nothing will change. But after all, I am an athlete, so I will definitely feel the changes in my body more and more. DNA will continue to be damaged anyway, so I think there will definitely be changes. However, I don’t think these changes will necessarily happen in multiples of five years. Change will come when it’s time, and the opportunity for change isn’t measured in time units like years. So, I’m relatively optimistic about this aspect. I don’t think, "My body will change at this moment." When I was 24, I really felt that my body had changed deeply, and I was troubled by the thought, "I’m getting old, and I can’t do it." But once I got past that point, I felt, "It’s still early!" "There are so many things I can do—why am I talking about being old?!" "It’s just things I haven’t done yet!" (laughs). I’ve learned a lot so far, and I’ll continue to learn in the future. As long as there’s room for continuous learning and improvement, even if I’m approaching 40—an age generally associated with a decline in physical strength—I think the gains from evolution will far outweigh the losses from decline.

Q: After hearing such inspiring words, I have one more question. Do you remember anything from your 10th birthday? A: I went to Tampere when I was 10.

Q: Oh, that’s when you competed at the Santa Claus Cup in Tampere, Finland, right? A: Yes, when I was 10, it was my first international competition. After winning that first international competition, I was on the plane home, listening to Bridge of Glory and crying... I was looking out the window, thinking, “Have I really made it this far?” And I just cried there (laughs). It’s funny, right? Don’t you think it’s funny? (laughs)

Q: That’s very cute (laughs), you must have been really emotional. A: Yeah, I was really happy. It was 2004, the Athens Olympics were in the summer, so the theme song was Bridge of Glory (NHK’s official theme for the Athens Olympics). I listened to it on my MD player. Every time I hear that song, I remember being in that airplane cabin (laughs). That was when I was at my strongest.

Q: Now, 20 years later, what are your thoughts on Echoes of Life? A: Right now, there are still many new programs that need choreography, and I need to focus on creating them. As the title Echoes of Life suggests, I want to pour my soul into every part of the creation process. Even though the tour means the program will constantly evolve, first and foremost, I want to create the perfect and best performance for the premiere. I will do my best!

MIKIKO Interview

Q: Did you choreograph for Hanyu in Echoes of Life? A: Yes, I choreographed a new program and also made adjustments to others. From RE_PRAY to Echoes of Life, Hanyu has done a lot of foundational dance training. I taught him all the training techniques that professional dancers go through. I think he’s probably been integrating those movements into his figure skating training day by day. So, when I choreographed for him this time, I felt like his body had almost found a new way of expressing itself. This physical transformation left a strong impression on me.

Q: What exactly was the change? A: Last time, it felt like he was trying to somehow integrate dance into his figure skating body. But this time, it felt more like I was choreographing for a professional dancer. He’s always been great at mirroring movements, so before, he probably focused on memorizing the 'form' of the movements and then forcing his body, which felt awkward, into that 'form,' practicing it repeatedly. Now, however, it’s become more about understanding how to use the body and then adding the 'form' on top of that. This reverse approach, I think, makes it easier for him.

Q: What specific techniques did you teach, MIKIKO-sensei? A: It was really basic, foundational training. Dancers will incorporate ballet techniques, so that was part of it, along with some stretching methods. Also, as a body meant to be appreciated in 360 degrees, there’s a training method where you place a plate on your palm and perform movements without letting the plate fall. Even if the front of the body can ensure the plate doesn’t fall, to prevent it from falling from the back, you need to keep the back flexible. This kind of training helps to create a more three-dimensional body. So-called dance movements are all connected; curves and circles need to be completed in one continuous motion. If a joint is stiff in any part, the movement becomes rigid. And we try to make all movements flow as curves. I also taught him exercises to relieve joint stiffness, so I feel that now his nerves can more effectively reach every corner of his body.

Q: Hanyu has incorporated so many new things! A: He said he was originally self-taught, analysing 'to perform this kind of movement, I probably need to use my body this way.' I think his analysis has come together this time. It’s like he not only solved the current problems but also answered some of the questions he had before.

Source: https://weibo.com/6473801248/P4gBakkFHhttps://weibo.com/6473801248/P4m5t0zmHhttps://weibo.com/6473801248/P5aCiDUf7https://weibo.com/6473801248/P4ePVBkFG

#hanyu yuzuru #yuzuru hanyu #羽生結弦 #MIKIKO #figure skating #figure skater #echoes of life #ice story #interview #machine #translation

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