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[2024.08.29] FS Life Extra - Yuzuru Hanyu PROFESSIONAL Season 2

Interview: Hanyu Yuzuru

“I realised that there was still so much potential left”

Hanyu has completed his 2nd year as a professional athlete. Having completed his first solo tour, "RE_PRAY," it appears that he has explored and elevated his expression to a higher level, both as a producer and as an artist. However, the responses that he spoke of were unexpected. From this valuable long interview, we explore where Hanyu Yuzuru is now in his third year as a professional and the state he is aiming for.

(Interviewed in Sendai on June 17, 2024)

Q: Let's start with the recent activities, starting with Fantasy on Ice's Makuhari and Aichi performances. What was your overall impression?

A: Well, after all, since I did my own solo tour, my awareness as a professional, my sense of who I want to be as a skater and the kind of effort I want to put into shows have become much more solid. In that sense, even though it was "Fantasy on Ice," I think I was able to approach my performance with a completely different sense of responsibility than I had up until last year.

Q: Was it due to the experiences and feelings accumulated during your second year as a professional?

A: Although it has only been two years, my sense of responsibility for the show, my gratitude for everyone's willingness to come to see me and support me, and my desire to cherish and respond to their expectations have all become stronger. Even though it was not my solo show this time, I felt that I performed with the same passion. Maybe because I was with other skaters, this feeling was more prominent in my heart, and I felt that I had indeed changed since becoming a professional skater.

Q: Do you feel differently in solo shows and shows with other skaters?

A: Until last year's Fantasy, I strongly felt that sense of comfort that comes with it being "Fantasy on Ice”. However, for example, there were certainly physical challenges, like having to do a quadruple jump in the Opening, but this year, rather than feeling that sense of comfort, I thought more about what it meant to skate here, and treated each program sincerely. However, after all, the seniors have gradually retired, such as (Evgeni) Plushenko and Johnny (Weir), and while Stéphane (Lambiel) is still here, (Nobunari) Oda-kun was not in A tour, and I felt that I have become a more senior, prominent figure in “Fantasy on Ice”. In that sense, I did feel a sense of responsibility. I felt that I needed to lead where I could, and the performance expected of me was no different from my solo show. And while skating, I was also thinking about the meaning of performing two programs, so in that sense, looking back now, this atmosphere was probably what I wanted to convey in Fantasy this time. As for the collaboration program, I performed “Meteor” with a sense of nervousness, as Nishikawa-san (Takanori) was also very passionate about the song. And I think because I was able to echo his passion with my skating that a sense of power and agility was brought out in that program.

Q: "Meteor," which was also the insert song for "Mobile Suit Gundam SEED," is a song that holds a lot of meaning for you as well?

A: Yes. It is one of my favourite songs, but since I like it so much, it was not easy to imagine myself skating to it. On the contrary, if it is a piece I am not familiar with, when someone says to me, "Please skate to this," I can still think about how to skate while listening to it. But, because it is a piece I am already very familiar with, I will think, "Eh, I already have this image in my mind, but I need to build the skating from here?" In that sense, because I like it, it is even more challenging to skate this program. I remember it being very difficult.

Q: I heard that it took you about four weeks to create the choreography.

A: It really took that long (laughs). After all, Nishikawa-san has very strong vocals, and I had to think about how to match that. And because I’m so familiar with this song, I could hear all the different sounds, so I needed to decide how much I should express. I also wanted to stay true to the image of the original work as well as the feelings that Nishikawa-san himself would have singing this song, but since I was the one skating, I also wanted to value the image I had in my mind. It was really difficult as there were so many complicated elements entangled together. When I was choreographing, I kept thinking, "This is not right, that is not right."

Q: It's because you have a strong attachment to the song.

A: It's really difficult.

Creating a program that starts from the feet

Q: The program included choreography that evoked a story. Was this choreography inspired by your desire to value not only the music but also the story that had influenced you?

A: That’s right. The story is of course important, but I also didn't want it to become like a theatrical performance. If I focus too much on the story, it will easily become too theatrical and lose the essence of the music. When I choreograph, I always try to "avoid making choreography that can be put into any program." I believe there must always be a unique relationship where the choreography is essential to the music and the music is essential to the choreography, so, while valuing the story, I was very conscious of expressing the image, rhythm, and melody of the music.

Q: The gesture of putting Tori (the bird-shaped pet robot that the protagonist got from his childhood sweetheart) on the shoulder made me think, "Could it be…?" even though I’m not familiar with Gundam.

A: Yes, yes (laughs). The main character (Kira Yamato) is bound by the past, but he has to fight because of the expectations placed on him. I am not the type to be overly tied to the past, but I think I can understand that sense of obligation to fight while carrying expectations. It doesn't matter if you want to do it or not, it's like you have to continue on as part of your mission. When I skated with those feelings, I thought that if I expressed too much of myself, it wouldn't fit the music. Considering various things, I was hesitant to make the choreography with Tori at first, or to make it a point like "That's the scene", but going back to what I said earlier, when I thought about "what can only be done in this program", I thought "But, this is Kira, and it's "FREEDOM", so if I thought about it properly, I thought it's better to include it. If there’s a part that leaves an impression, it would make it easier to recall the story. I thought it would be easy to convey to the viewers, and I thought it would not only satisfy my own feelings, but also satisfy those of the viewers. I put it in while considering the balance.

Q: When I first saw it in Makuhari, I didn't know who choreographed it, so I thought the choreographer must be a fan of Gundam...

A: Haha, he is (laughs). But I think that's a program that typical figure skating choreographers wouldn’t be able to do. When I’m creating choreography myself, I often notice that I tend to start from the feet. For example, "Ashura-chan" was like that, and "GIFT" too, where I build the choreography by setting the rhythm with the feet first and then adding the upper body movements. So, the upper body doesn’t lead; often, it takes a while for the upper body movements to come together. In figure skating, it’s more common for choreography to start with the upper body and then add steps or turns as needed. Since I start with steps and turns, my programs probably end up being a bit different from what you might expect from a typical figure skating choreographer. Because I’m aware of this, when I create something like "Messenger of Ruin" or a program for a solo show that’s more like a typical figure skating program, I sometimes think the opposite, "Lead with your upper body!"

Q: You remind yourself of this.

A: Yes. Otherwise, it might not feel like figure skating. I think about whether I should focus more on picking up the melody, or if I should create parts where I don't pick up the melody to make it feel more like figure skating.

Q: Is this approach of creating programs starting with your feet related to what you said before about your tendency to catch the sounds of bass and drums when listening to music?

A: Ah, yes, I do catch them. It's partly because of that, but it's also something that figure skaters generally don't do with their feet. For example, this time I had my own part in the finale of Fantasy, “High Pressure,” and I had to improvise differently each time, as it would be too fast if I had to pick up all the sounds of the percussion with my feet (laughs). But I did it unconsciously, and I have always liked doing that kind of thing since I was a little kid. So, it is not something that a typical figure skater can do, but something that only a person who likes music and can hear sounds very well can do. In that sense, I guess I am a bit more like a dancer.

In addition, I believe that my style may have been influenced by Alexei Yagudin and Kurt Browning. Yagudin's "Winter" (2001-02 season short program) has that famous toe step, and if you ask me whether it’s about capturing the sounds, I think it’s more about matching the gradually rising violin sound to create a climax. I just adapted that approach to fit with the rhythm. Kurt Browning, on the other hand, focuses more on capturing the rhythm than the melody and is very precise. The beats and rhythms that are difficult to hear are visualised in this way, changing how the music is perceived. It’s like experiencing music visually. I was greatly influenced by Kurt in this respect. So, I was influenced by both Yagudin’s use of toe steps to emphasize the melody, and Kurt's footwork that fully expresses the sounds that are often unnoticed and hard to capture. I think my style was formed in this way.

In fact, when I was creating "Meteor", I watched a lot of Yagudin's performances because I really had no ideas (laughs). Speaking of which, the initial feeling was very similar to Gladiator. In the opening of Gladiator, he turned his body holding a sword like this, and I used that as a reference. When I was creating “Meteor” for figure skating, I wanted to present a very cool choreography, and when I thought about what a cool choreography is, the first person that came to my mind was Yagudin.

Q: So, the cool image you had was Yagudin.

A: Yes! I also like Plushenko very much, he is incredibly cool, but it’s not so much about the choreography, but rather the strong aura he exudes from within. As I get older, the more I listen to music, the more I can see the world that Yagudin wanted to express. I’ve only come to realise just how skilled he was now.

Q: In the past you were absolutely crazy about Plushenko.

A: That’s right. I always thought his overwhelming aura was so cool! But this time when I was creating “Meteor”, I was quite influenced by Yagudin's style. The toe-steps at the end of the interlude, just before falling to the ground, was completely Yagudin. The rhythm was a bit different, and the use of arms was more Hanyu-like, but that kind of footwork was definitely Yagudin, at least to me.

Q: I’ll watch it again later.

A: Please do! (laughs) It influenced me a lot. After the intro, when the singing starts and at the line ‘Frozen~’ (凍りついた~♪), the way the legs are spread out and the body is turned is something that Yagudin often used as well.

Q: Yagudin is scattered everywhere.

A: Yeah (laughs). I always watch it thinking, "I was influenced by him." (laughs).

Q: The costume is also very elaborate.

A: Yes!

Q: How was the design decided?

A: I first gave an image concept of the kind of design I wanted, and then having the designer to create and complete the design based on that.

Turning trouble into opportunity

Q: What about the decoration on the shoulder?

A: That was just a coincidence, really! Even the similarity in colour to the Gundam model that came with the limited edition of Nishikawa's "FREEDOM" CD was a complete coincidence.

Q: That's amazing!

A: I originally had an image of that colour as well, but when I first received the costume and checked it, the colour was much whiter and a bit of a lighter blue. At that point, I didn't know about the plastic model, but I was thinking that, “It would look better if it was darker", and then, during the costume check, I accidentally hit my forehead and got covered in blood (laughs). So, the costume got covered in blood as well, and I had to get it washed right away, but because of that, I was able to say without compromising, “Please make it a bit darker”.

That incident left a permanent scar, but I couldn't help but think it was a fateful injury (laughs). If I hadn't ended up covered in blood, I probably wouldn't have said anything. The colour was originally a lighter blue. So, it might have all worked out for the best in the end.

Q: Is your forehead okay now?

A: Although the scar is still there, the pain has mostly subsided. However, I still feel some pain when a large drop in atmospheric pressure occurs. Also, when I turn over while sleeping, it rubs against the scar, which can be a bit painful. But, while skating, I don’t feel any pain, and it’s nowhere near as painful as when I sprained my ankle (laughs).

Q: You have had many painful injuries in the past.

A: Yes, only painful injuries (laughs).

Q: Also, I think "Danny Boy" in Fantasy has evolved even more than ‘notte stellata’.

A: Wow, thank you!

Q: What did you do to make it even better?

A: I studied a lot about how to use my body and how to express myself in April. 'Danny Boy' was where I could most clearly showcase that. I gradually came to understand how to use my feet in jazz, how to incorporate the sound of the piano into my body, and how to pick up the nuances of the rhythmic fluctuations that I could feel as someone with a strong sense of rhythm. That’s the program where I could express these most easily.

Q: So, the evolution of your performance in Fantasy came from that study.

A: That’s what I would like to think (laughs).

Q: I thought the program was good at “notte stellata”, but it was even better at Makuhari, and I was really moved. The lines were also very beautiful.

A: Thank you! I’m so happy! Indeed, in such a program, the more delicate the way you show the lines of your body, use your arms, and how you connect your body with your arms, the better. It’s about wanting to use big movements, but not using the full range of motion, while still having everything perfectly controlled and in the right angle. It’s something you have to master for it to look good. Conversely, the more you master it, the better the program becomes. I feel it’s similar to programs like "Ballade No. 1" or "Introduction and Rondo Capriccioso."

Q: Until last year, you only skated one program. Why did you decide to skate two programs now?

A: When I was offered to perform on the show, I had already planned to skate two programs. After being told, "For this Fantasy, these are the song choices for you to collaborate with", I listened to those songs and thought, "Ah, one program probably won’t be enough." After all, many people know about my solo ice show, and for those who spent almost the same or even more money to watch Fantasy, I felt that I couldn’t just perform one program. I have such a sense of pride that I didn't want them to feel that it was insufficient. When considering how to maximise audience satisfaction, I felt that two programs would be the best approach.

But it was really hard... In ‘notte stellata’, in the first program it was a triple axel, so I didn't need to do a quad jump. But for the opening of Fantasy, I had to do a quad jump right after I got on the ice, which was really challenging (laughs). Naturally I had to prepare on land, as I also need to be ready before stepping onto the rink. But there was no 6-mins practice on ice, so it was really hard to do a quad jump right after getting onto the ice in that state... It was really tough even from the warm-up stage. Then I had to perform "Danny Boy" soon after that, so I was really exhausted.

Q: Now that Fantasy has ended, I think you finally had a chance to take a break. But are you already gearing up for the next stage?

A: I’m really thinking about various plans and keeping my antennae up. I can't go into details, but I have to do a lot of work. In that sense, it is a very challenging time for me.

Q: Are you in the stage of preparing various things now?

A: I guess you could say I'm in a phase where I'm actively putting things out there, rather than just nurturing ideas. For me, rather than accumulating ideas and then releasing them all at once, I tend to be better at inputting and outputting simultaneously. It's kind of like improvising choreography while listening to music. My expressions were born while being influenced by something. So, whether it's about planning or doing a photo shoot, most of the ideas that come to me are often inspired by the music on the spot.

Q: I always wondered how you gather your input.

A: Surprisingly, it's manga, and of course games. Recently, I've been reading some philosophy books and papers, so I might be spending a bit more time on such texts these days. I actually don't hate reading papers, and I read about two a week. It doesn't have to be a long paper, a short one is fine, and when I'm not feeling like it, I just read the summary (laughs). There are times when I just read the introduction and the conclusion and think, "Oh, I see, that's what it was about," but even so, I think just acquiring that knowledge will increase my range of expression, or broaden my perspective, so I try to make a habit of reading.

Q: How do you find papers to read?

A: When I was making RE_PRAY, I read a paper about game storytelling. The article analysed what was contained in the storyline of a game, and finally concluded that games have these characteristics. The paper was about how novels have this kind of storyline and these characteristics, but games instead have this kind of storyline and these characteristics. I read a lot of such works while creating RE_PRAY.

Behind the scenes of RE_PRAY

Q: How was the RE_PRAY tour for you?

A: I really learned a lot. It wasn't a one-month tour, but a series of performances over a longer period at several locations, so my mental state and my perception of "ice story" were completely different each time, and the reactions and feelings of the people who watched were different too. This tour really made me realise just how closely expression is linked to one's state of mind and background.

Q: The lighting and projection mapping were also very cool. In that regard, I felt a sense of novelty.

A: It made me realise again that there is still room for improvement in the field of ice shows, in terms of the use of lasers, projection mapping, and even lighting. I wasn't able to participate much in the production of "GIFT" (the first Ice Story). I didn't have the time. I was also working on "Prologue," so we didn't have many meetings.

Q: After all, it was being done at the same time as Prologue.

A: That's right! That's why I didn't have time to attend many meetings, but in RE_PRAY, I was more involved in the direction, visuals, and many other things, and in the process, I realised that there was still so much potential left. Conversely, I also realised how much that I hadn't been able to do before.

Q: The animation was also cute. Like (8-bit) pixel art.

A: I had a meeting with a designer who creates pixel art, and we decided that this would be good. When we think about games, they're not just limited to pixel art; there are so many games now with incredible realism. Nowadays, there are many games that are almost like movies, resembling real people, but still, I wanted something that would make the concept of game easily understandable for those who come to watch skating and ‘Yuzuru Hanyu’, and convey it in a way that’s straightforward. We thought a pixel art approach might be effective for that purpose. Although I really love realistic games and initially wanted to go with a more realistic style for the title screen, we ultimately decided that we wanted the audience to feel a bit of nostalgia when they saw the screen. That’s how we ended up with the pixel art design.

Q: It's very cute, I hope you will release merch someday.

A: Sure, we will, please buy it (laughs).

Q: I'm looking forward to it (laughs). Also, in “Prologue”, you performed “SEIMEI” at the beginning of the show with jumps like in competitions, but in “RE_PRAY”, “Messenger of Ruin” was placed at the end of first half of the show. And it was a free skate composition.

A: When I skated "Roncapu" at the end of first half of "GIFT," it was pretty tough, and I went into it thinking, "No, this isn't possible," but I managed to do it at the time... I wonder why I made it (Messenger of Ruin) into a free program (laughs).

Q: To challenge your limits (laughs).

A: Really (laughs). When I was writing the story, or rather, once the structure was in place, I already had in my mind that 'this is definitely the music for the free program.' It wasn't about my stamina or anything, I just did it because I thought it was the best choice. But people around me were saying things like, 'Will you be okay? You were shaky even in the short program'. But I felt that it was precisely because I was shaky that I was able to fully express "Ruin", so I was like, "It's okay, it's okay to be shaky." I believed that “since I’m close to breaking down, the expression will come through”, but looking back now, I realised I was being really reckless.

Q: But even after doing all that crazy stuff, you kept moving without taking a break during the intermission.

A: Yes, I have to keep moving, really... I used a huge amount of spray to keep my hair in place. I used a really strong spray, so much so I couldn’t comb through it, and if I try to force it, the hair might all fall out. The comb would often break too. So, I had to wash my hair. First of all, since my fingers couldn’t get through the hair with shampoo, I had to use conditioner first to dissolve the hairspray before I could use the shampoo. One round of shampoo is not enough, so I had to shampoo twice, then apply conditioner again, making it a total of four washes. Instead of using a shower, I had to stick my head into the basin (laughs). It really took a lot of time, and after that, I had to dry my hair, style it, warm up, and then go out right away. It was really hell (laughs).

But I wanted to change the stiff hairstyle to a new state to make it look like it never happened, or rather, I wanted to change the atmosphere itself. The theme of RE_PRAY itself is "Starting from saved data", even though I had gone through the route of "Messenger of Ruin" (Save Data failed, Act 2), but I should start from where the data was saved, so in terms of the timeline, it means I should be back to the time before Act 1. Therefore, I couldn’t just restart with the image of being exhausted with messy hair after "Messenger of Ruin".

Q: You have to go back to the initial state.

A: Yes. Since I should be in the initial state, it needed to look like I wasn’t tired at all, and start with a completely different atmosphere as if ‘The data is loaded', so in my mind I had already decided to 'undo all the hair setting and start over.' In my simulation, I thought I could do it in 20 minutes, but it took longer than expected... So as soon as “Messenger of Ruin” was over, I took off my shoes, but it took about 5 minutes to take them off, then I went to the waiting room, where another 7 minutes passed. Then I managed to wash my hair in about 10 minutes, and from there it took me about 5-7 minutes to set my hair, warm up for 7 minutes, then put on my shoes immediately. It was hell.

Q: You said on a TV program that if you take a break, fatigue would hit you hard, but it seems you didn't even have time for rest.

A: Yes, that’s true... If I stopped to rest, I would realise how tired I was, so I tried not to stop, but, well, I didn't even have time to rest in the first place (laughs).

Q: I was going to ask you when you realised this, but I didn't expect this (laughs).

A: Haha (laughs). But because I was doing that in RE_PRAY, I knew that if I stopped, it would be over. Notte stellata 2024 is another example. There were three programs, "Notte (Stellata)", "Carmina Burana" and "Danny Boy", and I had to think about how I could maintain my physical condition without taking a break between those programs. Just like when I was doing my solo show RE_PRAY, I was constantly trying to keep my body in top condition for the next program.

Q: It's evolution through experience.

A: Yes. So, in a sense, this Fantasy feels the same way. I was always on the move.

notte stellata 2024 “I hope everyone will be happy”

Q: And about 'Notte Stellata 2024.' Regarding the collaboration with Mao Daichi, was it decided first to include 'Carmina Burana', or was the collaboration with Mao Daichi decided first?

A: Daichi-san came first. It is very difficult to decide who to collaborate with in the first place. Considering that the brand 'Yuzuru Hanyu' has a strong impact and there are many people at the venue who come to see “Yuzuru Hanyu”, it is very difficult to choose someone who can attract equal attention. While thinking about this, we thought "It would be better if the person could sing and dance as well. So Takarazuka Revue might be a good fit." When thinking about someone who could captivate the audience just with their aura in Takarazuka, we thought it would be great if we could ask Daichi-san.

Q: I see. And “Carmina” is one of the songs that fans have been asking for as a program they want to see someday.

A: Yes, "Carmina" is a piece with strong religious overtones, so it was difficult to use it as my own program. It could be seen as a difference in religious views.

Q: That is indeed difficult.

A: That’s right. I had always wanted to use it, but I thought it would be difficult to use it for my own program, but the producer (of “notte stellata”) sent me “Carmina” and said, “Go with this”. So rather than me choosing the song, it was decided by the producer from the beginning. He wanted me to skate to this, and collaborate with Daichi-san on this. So, the song was already selected and arranged. And I was determined to do my best.

Q: The worldview and aura were amazing.

A: When I saw “Carmina,” I knew that I could not do it alone. Each of us had a clear role to play, and the collaboration was something we could not have done without each other, so that was a good thing.

Q: I had the impression that “notte stellata 2024” was brighter than the first show, with a more positive aspect. At what point did you decide to go in this direction?

A: After last year's “notte stellata” was over, we had already talked about the possibility of doing it again next year, and at that time I was already thinking about making it more cheerful to some extent. Last year, I was too much affected by the 3.11. It was the first time for me to deliver a performance to people on March 11, after all, I rarely meet people on March 11, and I was often at home on that day. This year, however, I decided to do my best not just for my own personal feelings, but also to express my wish for the people who suffered from the various disasters, including 3/11 and the Noto earthquake, to “cheer up” and be healthy.

Q: Since I am also from Tohoku, I thought the first time would still be difficult to watch, but this year, I felt much more hope and positivity, so I was somewhat relieved.

A: Just like with RE_PRAY, I’ve been reflecting on what I really want to convey, and not just what I want to express but also “what I hope for”. I’ve started to think more about how I want things to turn out and what I need to do to express it. Of course, there are certainly things I want to convey and express, and many ways to do that, but I’ve gradually started to think about what I want the audience to feel and how I want them to react. This is true for both ‘Meteor’ and ‘Danny’, it’s not just about pushing my own emotions onto them; rather, I feel like I’ve started to view things from a broader perspective and think, “I want the audience to feel this way, so it’s okay to express it in this way.”

Q: In RE_PRAY, when you said that “everyone (the audience) is a player”, is that what you meant by that?

A: Yes. This is my recent theory, but when I read a novel or a manga, the dialogue and narration of the characters are ultimately spoken in my own words, or rather, in the voice of my own inner thoughts. There are voices of voice actors that I imagine, but in the end, it's my own voice that resonates in my head. It's the same with games; the story progresses, but the player who advances the story is myself, and that's what makes games interesting. In figure skating, since there are no words, and it's a form of physical expression without language, there’s a lot left to the viewer’s interpretation. This is why there is a greater freedom of interpretation, and this is also why some parts are difficult to understand, and this difficulty in understanding also allows for a greater degree of freedom in the feelings that can be received. I want people to enjoy this aspect, which is at the core of RE_PRAY and Ice Story.

For example, skating to 'Danny,' the way it is received in 'Notte' compared to 'Fantasy' would be completely different. With the various programs leading up to "Danny Boy", the way it's being perceived changes, the way the music is heard also changes, and of course, the lighting is different too, and I think that’s what makes skating so interesting, and Ice Story is always seeking for that. But, until now, I've often said things like, "It's so different depending on your emotions," or, "I have this image in mind, but I want you to see it as you feel it”, that being said, I feel like maybe I can guide the audience a little more too. I think that the idea of "I want you to go a little bit in this direction" came out strongly in "Notte."

Q: Will ICE STORY continue in the future?

A: Yes!

Q: You said in RE_PRAY that "the end is the beginning of the beginning," but do you have any new plans other than Ice Story in the future?

A: I am thinking of various things. It's difficult to be specific, but entering my third year after spending two years as a professional like this, I’ve realised just how much I was lacking. This second year made me aware of how shallow the things I’ve been taking in so far. Therefore, I want to incorporate a wider range of information and study various things more deeply. I hope to gradually expand and deepen my expertise. I think that will contribute to expressing figure skating in a way that is uniquely me. For example, there are very ballet-like expressions, very dance-like expressions, and very figure-skating-like expressions. Rather than having these exist in a half-hearted way, my goal now is to study properly how to express myself in a way that is in line with the theme.

I am not skating alone

Q: Finally, some Q&A that aren't about the show. How do you maintain your motivation after becoming a professional athlete? I guess it is different from competing.

A: I guess it's the expectations that people have of me... Honestly, what is it... I don't really have much time to think that "I really love skating!" After all, practicing skating is tough, and it's also hard to practice without anyone watching. But because people have high expectations of me, I want to live up to their expectations and go beyond them. I guess that's my goal, or motivation. Q: Are there any plans for SharePractice in the future? A: I would like to do it, and I thought about doing it before, but the security issues are really difficult! I really don't want to cause trouble for the rink. Q: How about not doing it live? A: That would be better. But you know, if it's not live, I can't interact with the comments and such, which is a bit sad. It’s SharePractice after all. But I do hope to do it again someday. Q: And speaking of Hanyu-san, you’ve always been very proper at greeting people, but what does greeting mean to you? A: Thank you. After becoming a professional, I have come to think more and more that “I am able to skate because of the support of the people around me”. It's the same for production, ice making, management, promotion, and so on. I really feel that the power of people is involved in many things. I’ve come to realise again that I am not skating alone, and I’ve been reflecting on how much I need to be grateful to the people around me. Q: Also, congratulations on becoming a GUCCI ambassador. I also saw the photo exhibition "In Focus: Yuzuru Hanyu Lensed by Jiro Konami" in Ginza. Have you become more interested in fashion?

A: I don't have much interest in fashion (laughs). I have no intention to wear so-called fashionable things on a daily basis. I'm not Steve Jobs, but I don't usually put much thought into it too. Or rather, it's not like me. It’d be strange if suddenly it's like, "Wow, Hanyu has become really fashionable!" (laughs). Q: Why not take this as an opportunity? (laughs).

A: This year I turn 30, which is a milestone (laughs). But I feel more comfortable in a jersey that allows me to move around freely, I want to feel more athlete-like in that regard. Q: As you just said, this year is a milestone for you, but what is your ideal image of your 30s?

A: When I was a teenager, I used to say, "30 is an old man" (laughs). I remember being scolded by (Miyamoto) Kenji-sensei, like, "30 is not old!" (laughs). When I was a teenager, I had a strong impression that skaters in their late 20s were getting less and less able to jump and losing physical strength. So, I thought that 30 is old in competitive figure skating. But now that I'm learning about different training methods and ways of expression, I'm starting to think, "That’s not so old after all." So, I want to continue to improve my skating, express myself better, and evolve in life. Hehe, I'll do my best in my 30s. Q: Yuzushenko (ゆづシェンコ) has also grown up. A: Yes! (laughs)

Q: Lastly, please give a message to your fans.

A: From now on as well, nothing will change. I will work hard as always!