[2024] Compilation of translated interview articles with Yuzu (2024)

Interviewer: Let's start with your recent activities. How was the overall experience of "Fantasy on Ice," especially the shows in Makuhari and Aichi?

Yuzuru Hanyu: Well, after starting to do solo shows as a tour, my awareness as a professional-like how I want to be as a skater and the kind of effort I want to put into shows-has really solidified. In that sense, even though it was "Fantasy on Ice," I think I approached my performances with a much stronger sense of responsibility than in previous years.

Interviewer: Do you think that this feeling has accumulated as you entered your second year as a professional?

Yuzuru Hanyu: It's still only been two years, but I've become more conscious of the responsibility that comes with performing. The gratitude for being watched and supported, and the feeling that I must cherish and fully live up to those expectations, have grown stronger. Although it wasn't a solo show, I felt like I approached it with the same energy as a solo show. Being with other skaters highlighted these feelings even more within myself. I felt that I've changed since becoming a professional.

Interviewer: Is there a difference in mindset between solo shows and shows with other skaters?

Yuzuru Hanyu: Until last year's "Fantasy," I strongly felt that sense of comfort that comes with it being "Fantasy on Ice." Of course, there were physical challenges, like having to jump quads in the opening, but this year, instead of feeling that comfort, I thought a lot about what it meant to skate here and faced each program with sincerity. But as senior skaters like (Evgeni) Plushenko and Johnny (Weir) have been gradually stepping back-although Stéphane Lambiel is still active, and Oda (Nobunari) wasn't part of the A Tour-I've found myself becoming one of the more senior, prominent skaters within "Fantasy on Ice." In that sense, I felt a sense of responsibility... I felt like I needed to take the lead and deliver performances that were expected of me, just like in a solo show. While skating, I was also thinking about the significance of having two programs, so in that sense, perhaps the atmosphere I aimed to create in "Fantasy" this time was something different when I look back now. As for the collaboration piece, "Meteor," I was skating with a sense of tension. (Takanori) Nishikawa-san was also very passionate about the song, and I think that passion, in sync with my skating, brought out a certain strength and agility in that program.

Interviewer: "Meteor," which is also a theme song for "Mobile Suit Gundam SEED," holds great significance for you as well, doesn't it?

Yuzuru Hanyu: Yes, it's one of the songs I've always really liked, but because I like it so much, it was difficult to imagine skating to it. Usually, when I'm asked to skate to a piece of music that I haven't listened to extensively, I can think about it as a skating program while listening. But since I was already familiar with this song, I thought, "How do I create a skating program from an image that's already so clear in my mind?" It was really challenging, and I remember it being very difficult.

Interviewer: I heard that it took about four weeks to create the choreography for "Meteor."
Yuzuru Hanyu: It really did take a lot of time (laughs). Nishikawa-san's strong vocals played a role too, and I thought a lot about how I should respond to that in my skating. Because I knew the song so well, I could hear all the different sounds, which made it difficult to decide how much to express. I wanted to stay true to the original image, to the feelings Nishikawa-san probably had while singing, but I also wanted to honor my own image as a skater. There were so many complex layers, and it was a tough process. I kept going back and forth, thinking, "This isn't right, that isn't right," while working on the choreography.

Interviewer: It was difficult precisely because you had a strong emotional attachment to it.

Yuzuru Hanyu: Exactly.

Interviewer: The choreography included elements that seemed to evoke a story. Was this intentional, as you wanted to incorporate influences from the stories that have affected you, in addition to just the music?

Yuzuru Hanyu: Yes, I wanted to respect the story, but I also didn't want it to become too theatrical. If I focused too much on the story, the performance would start to feel like acting and lose the essence of the music. When I choreograph, I always think, "The choreography should be unique to this program, and this program should be unique to this choreography." There should always be a relationship where the music and choreography are inseparable, so I paid a lot of attention to expressing the imagery and tempo of the music.

Interviewer: The gesture where you place the bird-like robot on your shoulder made me think, "Could it be...?" even though I'm not that familiar with Gundam.

Yuzuru Hanyu: Yes, exactly (laughs). The protagonist (Kira Yamato) is tied to his past but has to fight because of the expectations placed on him. I'm not someone who is overly tied to the past, but I can relate to the sense of duty to fight, regardless of whether I want to or not. When I skated with those feelings, I thought that if I expressed too much of myself, it wouldn't fit the music. While I hesitated to create choreography that included key moments like placing the robot on my shoulder, I eventually decided that it was necessary to create something that could only be done in this program. Having such elements helps evoke the story for the audience and makes it easier for them to understand. So, I tried to balance my personal satisfaction with the satisfaction of the viewers.

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

Yuzuru Hanyu: Haha, yes, I'm a fan (laughs). But I think the way I choreographed that program is something that a typical figure skating choreographer wouldn't be able to do. When I choreograph, I often start with the footwork. "Ashura-chan" was like that, and so was "GIFT." | begin with the rhythm in the feet and then add the upper body movements, so the upper body doesn't take the lead. If anything, when it comes to figure skating, most of the work is done from the upper body when creating the choreography. In figure skating, when creating choreography, it's more common for the choreography to start with the upper body. The upper body movements are established first, and then, if you feel that something is a little lacking in certain parts, you think, 'Maybe I should add a turn here, or maybe some steps,' and that's how it comes together. But for me, it starts with the steps and turns, so the programs I create might be a bit different from those created by typical figure skating choreographers. Because I know this, when I'm creating more traditional figure skating programs like "Envoy to Destruction," I sometimes tell myself, "Lead with the upper body!"

Interviewer: You remind yourself to do that.

Yuzuru Hanyu: Yes, exactly. Otherwise, it might not feel like figure skating. I think, “Maybe I should focus more on picking up the melody," or, "I should create parts where I don't pick up the melody to make it feel more like figure skating."

Interviewer: Does this approach of starting from the rhythm in the feet relate to your tendency to pick up on the bass or drum rhythms when you listen to music?

Yuzuru Hanyu: Ah, yes, I do tend to pick those up. It's partly because I just like that kind of rhythm, but it's also something that figure skaters generally can't do with their feet. For example, in the finale of this month's "Fantasy on Ice," during "HIGH PRESSURE," I had my part where I would improvise, and each time it was different. The rhythm in the drums is very fast, and picking it all up with your feet is challenging (laughs). But I did it unconsciously because I've always liked that kind of thing since I was a kid. So it's not something typical for a figure skater; it's more like something that only someone who loves music and hears it deeply can do. In that sense, I might be a bit closer to a dancer. Also, I think I developed this style thanks to Alexei Yagudin and Kurt Browning. Yagudin's "Winter" (2001-2002 Short Program) has that famous toe step, and while he was probably aiming to enhance the music's intensity, I turned it into rhythm. Kurt, on the other hand, used his feet more for rhythm rather than melody. He was incredibly precise, and you could visually perceive the music through his steps, making you hear the music differently. I feel that my style has been influenced by both of them. When I was creating "Meteor," I watched a lot of Yagudin because I couldn't come up with ideas (laughs). The beginning part of the choreography is heavily inspired by the opening scene of "Gladiator," where the character swings his sword around-it's quite similar.

Interviewer: So the cool image you had was Yagudin.

Yuzuru Hanyu: Yes, although I love Plushenko and think he's incredibly cool, his aura comes from within rather than from choreography. The more I listen to music, the more I understand the world Yagudin wanted to express, and I've come to realize just how skilled he was. It's something I've only come to appreciate recently.

Interviewer: In the past, you were completely obsessed with Plushenko.

Yuzuru Hanyu: That's right. I always thought his overwhelming aura was so cool, but this time, I found Yagudin's coolness to be more appealing. 'Meteor' was heavily influenced by him. The edge work of the toe steps near the end of the interlude, just before collapsing, is entirely Yagudin. I did change the rhythm a bit, and the way I use my arms is more Hanyu-like, but the way I move my feet is very Yagudin, at least in my mind.

Interviewer: I'll definitely go back and watch it again.

Yuzuru Hanyu: Please do! (laughs) It was heavily influenced by him. The part right after the intro, when the song starts and at the line 'Frozen~♪,' when I spread my legs wide and turn-that kind of move is something Yagudin often does.

Interviewer: So there's a bit of Yagudin sprinkled throughout?

Yuzuru Hanyu: Yes, there is. (laughs) I always watch it thinking, 'I was influenced by him.' (laughs)

Interviewer: The costume was also very elaborate.

Yuzuru Hanyu: Yes, it was.

Interviewer: How was it designed?

Yuzuru Hanyu: I provided an image of the kind of design I wanted, and they took that and created the design based on it.

Turning Trouble into Opportunity
Interviewer: I see. The decoration on one shoulder was also interesting. What was the inspiration for that?

Yuzuru Hanyu: Oh, that was really just a coincidence! The colors matched the model that came with the limited edition of Nishikawa's CD 'FREEDOM' by chance.

Interviewer: That's amazing!

Yuzuru Hanyu: Originally, I did have that color in mind, but when I first received the costume and checked it, it was much whiter and had a lighter, more pastel blue. At that time, I wasn't aware of the model, but I thought to myself, 'It would stand out more if it were a bit darker.' Then, while checking the costume, I accidentally hit my face and ended up covered in blood (laughs). So, the costume got a lot of blood on it, and I had to get it cleaned right away, but since I didn't compromise, I was able to ask, 'Can you make it a bit darker?' That incident left a permanent scar, but I can't help but think it was a fateful injury (laughs). If I hadn't ended up covered in blood at that moment, I probably wouldn't have been able to say anything. The costume was a softer shade of blue originally. So maybe that's why everything fell into place.

Interviewer: Is your forehead okay now?

Yuzuru Hanyu: The scar is still there, but the pain has mostly gone away. When a big low-pressure system comes, I do still feel some pain. Also, when I roll over in my sleep and it rubs against something, it hurts a bit. But it doesn't hurt while I'm skating, and compared to when I sprained my ankle, it's nothing at all (laughs).

Interviewer: You've had so many painful injuries up until now.

Yuzuru Hanyu: Yes, it's true-only painful injuries (laughs).

Interviewer: And your 'Danny Boy' performance in 'Fantasy' seemed even more evolved than 'notte stellata.'

Yuzuru Hanyu: Wow, thank you!

Interviewer: Was there anything specific you did to make it even better?

Yuzuru Hanyu: I studied a lot in April about how to use my body and express myself. 'Danny Boy' was the program where I could most clearly showcase that. It's about how to incorporate the rhythm into my body, like how to move my feet during jazz, or how to capture the subtle fluctuations in rhythm that only a person who is deeply connected to rhythm can feel. I gradually understood how to bring that out more effectively, and 'Danny Boy' was the program where I could do that best.

Interviewer: So the evolution of your performance in 'Fantasy' came from that study.

Yuzuru Hanyu: That's what I'd like to think (laughs).

Interviewer: I already thought 'notte stellata' was a beautiful program, but at Makuhari, it was even more refined, and I was really moved. The lines were so clean and elegant.

Yuzuru Hanyu: "Thank you! I'm so happy! With that kind of program, the more delicately you can show the lines of your body and the way you use your arms, and how those movements are connected with the rest of your body, the better it is. You want to use big movements, but it's not about using your full range of motion. Even though you're not using your full range, every movement is completely controlled and at just the right angle. You really have to master it for it to look good. On the other hand, the more you master it, the better the program becomes. It's similar to programs like 'Ballade No.1' or 'Introduction and Rondo Capriccioso.'

Interviewer: Until two years ago, you only performed one program, but this time you decided to do two. Why is that?

Yuzuru Hanyu: When I was originally offered the opportunity to perform, I had already decided that I wanted to do two programs. When I heard the music that was suggested for collaboration in this Fantasy on Ice, I thought, 'One program alone probably won't be enough.' There are many people who know my solo performances well, and I have a sense of pride about showing something worthy to the audience, especially when they're paying the same amount or even more to come to 'Fantasy.' I didn't want them to feel it wasn't enough. So when I thought about how to maximize audience satisfaction, I felt that two programs would be the way to go. But it was really tough. In 'notte stellata,' I start with a triple Axel, so I don't have to do any quads. But for the opening of 'Fantasy,' I have to do a quad right away after getting on the ice. That was really hard (laughs). It's one thing to prepare a quad on dry land, but you have to be ready to jump it as soon as you get on the ice. To go from nothing during the six-minute warm-up to landing a quad right away on the ice... It was really tough. And I had 'Danny Boy' right after that, so I was totally exhausted.

Interviewer: Now that 'Fantasy' has ended, I think you've finally had a chance to catch your breath. But are you already feeling restless and looking forward to what's next?

Yuzuru Hanyu: Oh, I'm definitely already thinking about various projects and keeping my antennae up for ideas. I can't go into details, but there's a lot of work I need to do. In that sense, it's pretty tough right now. I guess you could say I'm in a phase where I'm actively putting things out there, rather than just nurturing ideas. I tend to be stronger at inputting and outputting simultaneously rather than storing things up and then releasing them all at once. It's kind of like when I'm listening to music and the choreography comes to me ad-lib. My expressions are born while being influenced by something. So, whether it's planning or having a photo shoot, most of the ideas that come to me are often inspired by the music in the moment.

Interviewer: I always wondered how you gather your input.

Yuzuru Hanyu: Surprisingly, it's often from manga, and of course, games. Recently, I've also been reading philosophy books and academic papers, so I might be spending more time on those kinds of texts. I've never disliked reading papers, and I go through about two a week. They don't have to be long; short papers are fine, and if I'm not really in the mood, sometimes I'll just read the abstract (laughs). There are times when I only read the introduction and the conclusion and think, 'Oh, I see, that's what it was about,' and leave it at that. But even just gaining that knowledge increases my repertoire when it comes to expressing myself and gives me more perspectives to consider. So, I make a point to read them for that reason.

Interviewer: How do you find these papers?

Yuzuru Hanyu: Actually, when I created 'RE_PRAY,' I was reading a paper on the narrative elements of video games. The paper analyzed what kinds of elements are included in game stories, and it concluded that games have these specific characteristics. It compared how novels have certain narrative features and games have others. I read a lot of that kind of literature while making 'RE_PRAY.'

Interviewer: How was the 'RE_PRAY' tour for you?

Yuzuru Hanyu: I learned so much from it. It wasn't a tour where we performed multiple times over a month, but rather over an extended period in different locations. Each time, my mental state, my perception of the ice story itself, and the audience's reactions were completely different. It really made me realize just how much expression is linked to one's emotional state and background.

Interviewer: The lighting and projection mapping were really cool. I also felt a sense of newness in those aspects.

Yuzuru Hanyu: Yeah, it made me realize that in the field of ice shows, there's still so much room for improvement in how we use lasers, mapping, and even lighting. With the first ice story, 'GIFT,' I couldn't participate much in the production aspects. I just didn't have the capacity for it. I was also working on 'Prologue,' so there weren't many meetings either.

Interviewer: You were working on 'Prologue' at the same time, weren't you?

Yuzuru Hanyu: Yes, exactly. That's why I couldn't have many meetings back then. But with 'RE_PRAY,' I was more involved in the production, participated in the video aspects, and got involved in various elements, which made me realize how many possibilities are still left unexplored. On the flip side, I also realized how much I hadn't been able to do before.

Interviewer: The animation was also really cute, like the 8-bit pixel art style.

Yuzuru Hanyu: Yeah, we had discussions with the designer who created the pixel art and agreed that this style would work well. When we think about games, they're not just limited to pixel art; there are so many games now with incredible realism. These days, there are so many games that are almost human-like in terms of technology-like watching a movie. But still, for the people who came to see skating, to see Yuzuru Hanyu, it needed to be something that easily communicated 'this is a game,' and that's where we landed on that approach. While I also love realistic games, at first, I was inclined to go for a more realistic style, even for the title screen. But in the end, when we considered both sides, we thought it would be nice to evoke a bit of nostalgia as well, so we chose that pixel art style.

Interviewer: It's so cute, please make some merchandise of it someday.

Yuzuru Hanyu: Yes, we will, so please buy it (laughs).

Interviewer: I'm looking forward to it (laughs). Also, in 'Prologue,' you started with a program featuring jumps like in a competition (with 'SEIMEI'), but in 'RE_PRAY,' you included a piece (with 'Envoy to Destruction') at the end of the first act. And it was a free program setup. When you did 'Roncapu' at the end of the first act in 'GIFT,' it was quite challenging, and you thought 'this is impossible.' Why did you choose to include it ['Envoy to Destruction'] in the free program?

Yuzuru Hanyu: That was really a challenge (laughs). When creating the story, or rather, once the structure was set, I already had the idea that 'this piece should be in the free section.' It wasn't about physical endurance; it was more about feeling that this was the best option, so that's what I went with. So, even though people around me were concerned, saying, 'Are you okay? You were already so exhausted in the short program,' I believed that the exhaustion itself would help express 'Envoy to Destruction.' I thought, 'It's okay to be exhausted.' Even though I was confident that the expression would come out of being on the edge, looking back now, I realize I really pushed myself.

Interviewer: But even after pushing yourself like that, you kept moving without taking breaks during the intermissions.

Yuzuru Hanyu: Yes, I had to keep moving. It was really crucial. To avoid messing up my hair, I used an enormous amount of hairspray. It's so hard that a comb doesn't go through, and if you force it, it might pull all the hair out. Sometimes the comb even breaks. So, I had to wash it thoroughly. First, I use a treatment to loosen it because shampoo can't get through initially. Then I shampoo twice and use treatment again, totaling four washes. Instead of a shower, I put my head in the sink (laughs). It takes so much time, and afterward, I have to dry and style my hair quickly before going back on stage. It was really hell (laughs). But I wanted to change the mood from a very stiff hairstyle to something that seemed like it never happened. The theme of 'RE_PRAY' is 'Starting from a save data,' so I didn't want to start with a worn-out look from 'Envoy to Destruction.'

Interviewer: You needed to start fresh from the previous state.

Yuzuru Hanyu: Exactly. I had to start with a fresh look, making it clear that it wasn't exhausted, and present it as if 'the data has been loaded.' In my mind, I thought I could do it in 20 minutes, but it took more time than I expected. So, after finishing 'Envoy to Destruction,' it took about 5 minutes to remove my shoes, then 7 minutes to get to the dressing room, and another 10 minutes to wash my hair. After that, I spent 5-7 minutes styling my hair and then had 7 minutes to get ready before putting on my shoes and heading out. It was hell.

Interviewer: You mentioned on a TV show that if you took a break, fatigue would hit you hard. So, you didn't even have time for breaks.

Yuzuru Hanyu: Yes, that's exactly it. If you stop, you realize how tired you are, so I tried to keep moving, but there wasn't even time to rest (laughs).

Interviewer: I was going to ask when you realized that, but it's quite a revelation (laughs).

Yuzuru Hanyu: Haha (laughs). But because I was doing that in 'RE_PRAY,' I knew that if I stopped, it would be over. During 'notte stellata 2024,' I had a sample of that experience. With 'notte stellata,' 'Carmina Burana,' and 'Danny Boy,' I tried to maintain my physical condition without much rest between the programs, just like during the 'RE_PRAY' solo performances.

Interviewer: It's evolution through experience.

Yuzuru Hanyu: Yes, so this 'Fantasy' was similar in that sense. I was constantly moving.

Interviewer: 'notte stellata 2024' is about 'hopes for recovery.' Can you tell us about the collaboration with Mao Daichi? Did the decision to include 'Carmina Burana' come first, or was the collaboration with Daichi decided first?

Yuzuru Hanyu: Daichi-san came first. Deciding on a collaborator is incredibly challenging. Considering that 'Yuzuru Hanyu' has a strong impact and there are many people who come to see him, it's important to choose someone who can stand out equally. While thinking about this, we* considered someone who can both sing and dance, and thought about someone from the Takarazuka Revue. When we thought about someone who could captivate with just their aura, I wondered if we could ask Daichi-san. [*T/N: there is no pronoun and with the context is unclear if this could be a 'we' or a 'they']

Interviewer: I see. And 'Carmina Burana' was a piece that fans had wanted to see in a program someday, right?

Yuzuru Hanyu: Yes, 'Carmina' is a piece with religious overtones, and it was challenging to use it as part of my program due to differences in religious perspectives. It was difficult. I had wanted to use it for a long time but found it challenging. When the producer of 'notte stellata' decided on 'Carmina Burana,' it was more the producer's choice from the beginning. They wanted to use it and collaborate with Daichi-san, so the selection and arrangement were made, and I just performed it with all my effort.

Interviewer: The atmosphere and aura were incredible.

Yuzuru Hanyu: Yes, 'Carmina Burana' made it clear that it couldn't have been done alone. Each role was essential, and it became a true collaboration that couldn't have been achieved without each participant.

Interviewer: 'notte stellata 2024' had a brighter, more luminous impression compared to the previous time. When did you decide to go in this direction?

Yuzuru Hanyu: After the last 'notte stellata,' we talked about doing it again next year. By then, the idea of making it brighter was already in my mind. Last year, I was still heavily influenced by March 11, and it was really hard. It was my first experience performing on that date, and I had rarely met people on March 11, usually spending it at home. But this year, I wanted to focus not just on my personal feelings but also on those affected by the disasters in Tohoku and Noto. I wanted to put my thoughts into it and do my best.

Interviewer: I am also from Tohoku so I watched it the first time thinking it would still be painful, but this year I felt a lot of hope and light, so I felt a little relieved..

Yuzuru Hanyu: Just like with 'RE_PRAY,' I've started thinking about what I want to convey and what I hope for. I have my own things I want to express, but I also think about what I want the audience to feel and how to convey that. I've started to view things from a broader perspective, thinking about how to express something to make the audience feel a certain way, rather than just pushing my own emotions.

Interviewer: In "RE_PRAY," you mentioned that "the audience is the player." Was that based on such an idea?

Yuzuru Hanyu: Yes, that's right. This is a recent theory of mine, but when you read a novel or manga, the dialogue and narration are ultimately in your own words or the voice of your own mind. Even if you imagine the voice of a voice actor, it's still your own voice echoing in your head. The same goes for games; while the story progresses, the player who advances it is yourself, which is what makes games interesting. I think that in figure skating, where there are no words, there's a lot more open to interpretation, and we leave a lot to the audience's interpretation. Because of that, the degree of freedom in interpretation is greater, and that's why there are emotions that can be felt through that freedom. That's the essence of "RE_PRAY" and ice stories. For example, if you perform "Danny," the way it's received in "Notte" versus "Fantasy" is completely different. With the various programs leading up to "Danny Boy," the way it's perceived changes, the way the music is heard also changes, and of course, the lighting plays a part. That's what I find interesting about skating, and ice stories always seek that. However, until now, I had often just left it to the audience's emotions, but I felt that in "Notte," it was stronger to guide them a bit more. I wanted to subtly guide them to "this way."

Interviewer: Will Ice Stories continue in the future?

Yuzuru Hanyu: Yes!

Interviewer: You also mentioned in "RE_PRAY" that "the end is the beginning of the beginning." Are there any new plans beyond Ice Stories?

Yuzuru Hanyu: I'm thinking about various things. It's difficult to be specific, but entering the third year after spending two years like this, I realized how much I was lacking. It was a year where I realized how shallow the things I had been taking in were. Therefore, I want to absorb a wider range of information and study more, and deepen and expand my expertise gradually. I think that will lead to my own unique figure skating expression. For example, there are expressions that are very ballet-like, very dance-like, and very figure skating-like. I want to make sure these are not just half-hearted but are expressed properly according to the theme. That's my current goal.

Interviewer: Lastly, a quick Q&A outside of the show. As a professional athlete, how do you maintain your motivation? It must be different from competition, right?

Yuzuru Hanyu: Yes, the expectations... Honestly, there's less time when I'm just thinking, "I love skating!" The reality is that practicing skating is tough, and practicing without anyone watching can be challenging. But because of the expectations, I want to meet them and exceed them. That's my goal and motivation.

Interviewer: Are there any plans for SharePractice in the future?

Yuzuru Hanyu: I'd like to do it, but when I thought about doing it once, the security issues were really tough! I don't want to inconvenience the ice rink (Ice Rink Sendai).

Interviewer: What about live streaming?

Yuzuru Hanyu: That might be a good idea, but the problem is that you can't interact with comments if it's not live, which is a bit sad. It's a SharePractice after all. But I do want to do it again someday.

Interviewer: And as for you, Mr. Hanyu, you've always been very thorough in demonstrating your appreciation and gratitude, both now and in the past. What does showing appreciation mean to you?

Yuzuru Hanyu: Thank you. As a professional, I've come to think even more about how I'm able to skate because of the support from those around me. Whether it's about the production, the ice preparation, the management, and the advertising, I feel a lot of human power involved in everything. I've realized that I'm not skating alone, and recently, I've been thinking about how much gratitude I owe to those around me.

Interviewer: Also, congratulations on becoming a GUCCI ambassador. I also saw the photo exhibition in Ginza, "In Focus: Yuzuru Hanyu Lensed by Jiro Konami." Have you become more interested in fashion?

Yuzuru Hanyu: I'm not really interested in fashion (laughs). I don't really have the desire to wear so-called fashionable things in my daily life. I'm not like Steve Jobs, but I don't feel like using my thoughts on that. Besides, it wouldn't feel like me, would it? Suddenly hearing people say, "Wow, Hanyu's gotten so stylish!" would be a bit strange (laughs).

Interviewer: But wouldn't it be great to use this opportunity (laughs)?

Yuzuru Hanyu: I'm turning 30 this year-it's a milestone (laughs). But I feel more comfortable when I'm dressed in something I can move around in, like a tracksuit. I think I want to maintain that kind of athlete-like feel.

Interviewer: As you mentioned, this year is a milestone. What's your ideal image of your 30s, compared to how you viewed it as a teenager?

Yuzuru Hanyu: When I was a teenager, I used to say, "30 is old" (laughs). I distinctly remember Kenji Miyamoto-sensei getting mad at me, saying, "30 isn't old!" (laughs). Back when I was in my teens, I had this strong image that skaters in their late 20s would struggle with jumps and lose their stamina, so I thought that in the competitive figure skating world, 30 was old. But now, after learning various training methods and ways of expression, I've come to realize, "Wow, 30 isn't old at all!" So, I want to keep improving in skating, continue to express myself, and keep evolving in life. Well, I'm vaguely thinking that way. Fufu [haha], I'll do my best in my 30s.

Interviewer: Yuzushenko (ゆづ シェンコ) has grown up too, hasn't he?

Yuzuru Hanyu: Yes! (laughs)

Interviewer: Lastly, could you please give a message to your fans?

Yuzuru Hanyu: From now on as well, without changing. I'll continue to do my best without changing anything!