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In the Haier/AQUA commercial, Yuzuru Hanyu’s blue and white costumes became a big topic. We interviewed the designer, Taketoshi Hara, who worked on them, and asked about the design concepts and behind-the-scenes episodes.

Attention to detail in the two costumes, "Blue Hanyu" and "White Hanyu"

— How did you come to be involved in this project?

“I was approached around last autumn, but initially it wasn’t a costume-making request. It was for styling coordination. However, Haier/AQUA already had a clear image at that point, and as the discussions progressed, it became ‘let’s make something new rather than using existing pieces.’ At first, I was relaxed and excited thinking, ‘I get to see Hanyu skate up close again!’ But suddenly, I was tasked with creating two costumes in a short time, which was quite tough (laughs). The actual production period was about three weeks. While they were checking one design, I was simultaneously brainstorming the second. It was probably the tightest schedule I’ve ever worked on. Still, on the pure white ice, the costume is the only stage device, and since it’s for a commercial that has to leave a lasting impression, I tackled the project with a sense of purpose.”

— How did the production process go?

“I always get design ideas from music, so I asked the creative team, ‘Please tell me as soon as possible what kind of music will be used.’ Sometimes the commercial’s music is finalized only in post-production, near the end, but for me, music is crucial. So they kindly sent me the updated audio tracks each time the arrangement was revised, and I repeatedly listened and refined the design accordingly.”

— Can you explain the concept behind each costume?

“The blue costume is based on Haier’s corporate colour, a deep royal blue. The idea started from fusing something classical and noble with something technical. I drew inspiration from gemstones like lapis lazuli and European luxury cars like Lamborghinis and Ferraris. The commercial’s music blended string sounds with a modern EDM feel, similar to a movie or game soundtrack. So, instead of only going for a sharp, classical look, I incorporated elements inspired by unisex clothing from artisan brands (indie brands). I also wanted to bring out a strong sense of figure skating, so I included rhinestones. I personally decided on the placement of the shoulder stones and attached them by hand. Interestingly, the central motif on the blue costume’s shoulder is the same as the front motif on the white costume. Although the two outfits look very different, I made sure there were subtle links between them.”

— And the white costume?

“Since the blue costume is asymmetrical, I deliberately designed the white one to be symmetrical as a contrast. For example, the blue has pleats on the right side, while the white gathers tucks centrally around the button line to create dimension and nuance. Also, strictly speaking, the colour isn’t pure white. It’s a very pale, icy blue. Pure white can look bland, and because the rink itself is white, it lacks contrast and tends to blend in. By adding a hint of blue, I aimed for a transparent, dignified atmosphere. If you look closely at still shots on the rink, you can just make out the bluish tint. The silhouette combines soft bridal and Chinese garment elements, plus an image of clergy or sacred robes. The details of the decoration are based on custom-made jewellery, minerals, and European cathedrals."

— What were the biggest challenges?

“The storyboards we received in advance showed a scene where Hanyu would jump, and I thought, ‘If it’s Hanyu, he’ll definitely go for a triple axel or a quad.’ Since we could only do fittings on the day of shooting, I was anxious about whether I could make something that could keep up with his movements, but I was familiar with his size, so somehow I managed. To ensure the garment didn’t restrict his movement, I made it fully stretchable, but at the same time, I fine-tuned the shoulder pads and the inner structure to preserve a tight, jacket-like silhouette.”

The Joy of a Designer Felt During Filming

— How was Haier/AQUA’s reaction?

“They were thrilled, saying things like, ‘It’s exactly what we imagined, no, even better!’ I think Haier/AQUA’s products stand out for their design emphasis, and it was the same with the costume direction, making this a very rewarding job. I'm proud that I was able to do a good job.”

— Any behind-the-scenes stories from the shoot?

“Usually, there’s a set place on the rink where Hanyu does his quad jumps, but because this was shot on a green screen for compositing, he had to jump right in the center. It looked tricky to time, so Hanyu said, ‘Let me adjust!’ and tried again and again. Also, since we used real rhinestones, the costumes were a bit heavy. It's a spot where he doesn't usually jump, and it's his first time wearing the costume, but I was impressed by his professionalism in completing the quadruple jump within the allocated time. Also, the white costume’s sleeves are made of an unusual draping tulle material, attached in a way we’d never used before, and Hanyu commented, ‘This is unusual,’ showing interest. He tested the air resistance when jumping and said, ‘Maybe I should hold this part when I jump.’ As always, I’m amazed at how skillfully he ‘tames’ his costumes.”

— It feels like it’s been a while since we’ve seen Hanyu skating on the rink in a commercial.

“That’s true. Hanyu is an all-rounder who can do anything, but for me, seeing him perform on ice is what moves my heart the most. Having him appear in a commercial and reaching people who might not be interested in figure skating, and knowing that my costume is involved in that, makes me very happy. This time, with special permission, the staff, including me, were allowed onto the rink to adjust the costumes during filming. I have been involved in figure skating for about 10 years, but I have only been allowed inside the rink a few times. I was very nervous because I know how sacred that place is. Seeing Hanyu skate from the closest possible distance, I was so moved I almost teared up. Standing in the middle of the rink, it feels wider and colder than it looks from outside. I felt an indescribable emotion, thinking, ‘The skater stands here all alone…’”

— Thank you. Last question. What does "making costumes for Hanyu Yuzuru" mean to you as a designer?

"There are two costumes this time, one blue and one white, but when Hanyu puts them on, he truly becomes 'Yuzuru Hanyu in that costume.' It's like he turns into a completely different person. He ‘communicates’ with the costumes I’ve created and brings an entire world to life. That was the case this time as well. Honestly, he’s probably the only person who gives me that kind of feeling. Of course, there's a lot of pressure and many challenges involved, but seeing a piece of work I poured my soul into be elevated beyond what I even imagined is deeply moving. Every project I’ve done with Hanyu becomes a cherished memory. If I can continue creating costumes for him in the future, it would be a true honor."

Mew Suppasit and Gulf Kanawut