Former world junior champion Tomoki Hiwatashi and defending titlist Jason Brown will headline this week’s third annual Peggy Fleming Trophy, it was announced recently.
The event, which was staged at the famous Broadmoor Arena in Colorado Springs, Colorado, the first two years, will be held as a virtual competition this year due to the COVID-19 crisis.
The Peggy Fleming Trophy will be streamed on usfigureskatingfanzone.com at 8:00 AM Japan Time on Saturday (7:00 PM EDT on Friday in the U.S) so fans can tune in and enjoy the competition as it is aired.
Hiwatashi, who was third at the U.S. championships last season, and Brown, who was runner-up behind winner Nathan Chen at the same event, are among 17 internationally and nationally-ranked male and female skaters who have taped their programs and submitted them to a panel of Olympic and world judges.
The contest is unique in that male and female competitors are vying for the same award. The event is named for its creator, Peggy Fleming, the iconic 1968 Olympic champion who personified elegance and grace both on and off the ice.
Fleming came up with the idea after seeing a shift in the focus of the sport from performance to technical process in recent years. The three-time world champion spoke to many members of the global skating community while formulating the concept that seeks to recognize skaters for their artistry.
“Like a lot of people, we felt that figure skating was at a point with too much emphasis on the technical side, with too many jumps, with the loss of skating artistry and the entertainment value of our sport,” Fleming told jackfigure.com in an exclusive interview.
“I wanted to develop a format in which creativity and musical interpretation take center stage, so we can enjoy the well-rounded programs that our audiences love and have the technical elements serve as highlights to the music and composition,” Fleming stated.
Each competitor skated a 3-minute, 30-second program focusing on the skater’s ability to artistically express and present a complete program while demonstrating superior technical skills. The music, creativity and overall performance are the emphasis for the competition and all skating elements are assessed from an artistic point of view.
There are nine technical elements which have fixed base values and receive Grade of Execution (GOE) marks based on the artistic execution of the element in relationship to the program as a whole. The elements include four jumps, three spins, one step sequence and one signature move.
The Peggy Fleming Trophy is currently open to only skaters from the U.S., but the five-time national champion told jackfigure.com that she hopes to include international skaters in the future.
Japan’s rise on the global skating scene over the past 15 years has propelled the sport’s popularity to meteoric heights domestically and made the country a powerhouse on the ice.
Along with the likes of two-time Olympic champion Yuzuru Hanyu, three-time world champion Mao Asada and Olympic medalists Daisuke Takahashi and Shoma Uno, skating has also discovered another Japanese superstar.
She is 32-year-old Satomi Ito, the costume designer who hails from Chiba Prefecture and is a favorite of elite skaters from both Japan and overseas.
In an exclusive interview with jackfigure.com, the gifted and visionary designer discussed her background, her rise in skating, and her plans for the future.
“During my adolescent days I aspired to become a comic artist, screenwriter or a writer,” Ito stated. “When I was in high school, I suddenly found joy in creating clothes, so since then I have wanted to work in the fashion industry (as a designer and creator).”
I wondered if Ito was a skater or athletic as a youngster.
“I don’t skate,” Ito commented. “When I was a student, I was a track and field athlete, but it didn’t last at all and I quit immediately.”
After studying at a vocational school in Japan following high school, Ito moved to the United Kingdom to further her education. I asked how her time there has impacted her philosophy as a designer.
“It was only my last year that I transferred to Nottingham Trent University School of Art & Design in England, so I was not taught anything technical there,” Ito noted. “I learned the importance of concept-making and presentation skills.
“In Japan, people will recognize and assess you for the final product, however, I felt that in England, the process is also seen to be very important,” Ito continued. “For instance, if you say, ‘My favorite color is black because I think it’s cool,’ they would ask you, ‘Why do you think black is cool? Is pink not cool? To you, what does ‘cool’ mean?’
“I think that it’s a form of self-exploration, however, I discovered and learned a lot through this thought process,” Ito said. “Even now, when I create design sketches for skaters, I think to myself, ‘What do I want to communicate through the skater, and what do I want the audience to feel?’ I don’t make decisions based on if it’s cool or cute. Instead, I try to offer ideas that I’ve thought out within myself.”
I wanted to know which designers that Ito has admired through the years.
“For figure skating costume designers, Olga Ryabenko and Milena Bobkova from Russia, and Lisa McKinnon and Jan Longmire from the U.S.” Ito declared.
With the demand for her services increasing, I inquired about the timeline for Ito to make a costume for an elite skater.
“I receive a turnaround time of about two to four months whether they’re an elite skater or not,” Ito remarked. “The tough thing about costume making for figure skating is that the time period for creation is the same for everyone! The peak is during April to September, and on average I create 30 costumes, so it becomes very busy and hard.
“I created around 50 costumes for the Pyeongchang Olympic season, however, I don’t think that will be possible next time around,” Ito stated.
What are Ito’s primary goals and concerns when making a costume?
“Some people care for the details but don’t look at the overall picture,” Ito commented. “Some people look at the overall picture, but don’t care for the details. Become the person in between that.
“That is what my former teacher (from the vocational school I went to in Japan) whom I respect told me. I keep those words in my head while I create.”
I questioned Ito about whether the cost of the costume was determined before or after it was made.
“I firstly ask what their budget is,” Ito mentioned. “When a skater has a budget, I will work within that. However, for skaters who don’t have budgets, I will set a price after I finish creating the costume.”
According to Ito, the weights of the costumes she creates for men (usually around 850 grams) are more than double that of the women (normally around 350 grams). I inquired as to what considerations she had to take into account as a result of the difference.
“Carefully picking out the materials,” Ito stated. “I try to work with fabric that is light but also is opaque, so the skin doesn’t become see-through.”
I wondered how many costumes Ito designs in one year.
“The peak for skating is the months between April and September,” Ito claimed. “On average 30 costumes. For the other months I work on around three to five rhythmic gymnastics and ballet costumes. During the year-end and the New Year holidays, I take a break over a month to go visit family overseas and travel.”
I was interested to know what was the youngest age skater she had made a costume for.
“I think for an elementary school student,” Ito recalled. “Since I don’t only create costumes for top skaters.”
Ito is best known for her work with Hanyu, and I asked her what it is like working with the living legend.
“Remembering back, I think the first offer I received from him was in 2015,” Ito said. “At that time I was still a fledgling designer, so I was very surprised. When I first met him during a meeting that was set up for us to go over the costume design, I was so nervous that my hands were shaking the entire time.
“I still get nervous … although my hands don’t shake anymore.”
Ito discussed in detail Hanyu’s thoughts about his costumes.
“Hanyu views the connection between his music and costume to be very important,” Ito commented. “Definitely the functional aspect. It can be difficult to keep a good balance between the appearance and function of the costume, however, Hanyu aims high every season, so I also try to follow his footsteps.
“Compared to five years ago, my costumes have become lighter and have definitely evolved,” Ito added. “I’ve been able to work better with materials and my skills have improved through my experience of working with Hanyu.”
Having designed many costumes for Yuzu, I asked if she had a particular favorite.
“They’re all special, so I can’t choose,” Ito replied.
A crowning moment for Ito’s career came in February of 2018, as she watched Hanyu and Uno with a historic 1-2 finish for Japan at the Pyeongchang Olympics. Even for the most modest person, I presumed she must have felt incredible pride at their achievements and hers.
“When both Hanyu and Uno (I also created his costume) stepped up onto the podium, I was very happy,” Ito recalled. “When I was watching the live performance, I wasn’t able to stay calm and relaxed because I was worried about the costumes. The only thing running through my head was, ‘Congratulations and thank you for wearing my costumes.’”
Along with national champion Rika Kihira and former world medalists Satoko Miyahara and Wakaba Higuchi, Ito has also designed costumes for former world titlist Evgenia Medvedeva of Russia and 2019 world junior champ Tomoki Hiwatashi of the U.S.
How frequently do foreign skaters ask for her services to make their costumes?
“About one in 10 orders,” Ito noted. “With the coronavirus, the orders placed from foreign skaters were all wiped away this year. I had received orders from foreign skaters that I hadn’t worked with before, so it was very disappointing. I’m thinking that hopefully I can design some next year.”
I inquired as to if there was a foreign skater she would like to design for in the future.
“If I had to choose, I would say a female skater from Russia,” Ito stated. “If it was for a domestic skater, I would love to design and create a costume for Mao Asada, an ice dance team, or for a pair.”
Ito published a collection of her works in a coffee table book (“Figure Skating Art Costumes”) back in March. I wondered how that experience compares with making a costume.
“One of my goals was to release a portfolio that features my works,” Ito declared. “The costume industry has a very blurred line regarding copyright, so I was very content that I was able to publish the portfolio with my name. I sincerely appreciate the skaters who have cooperated with me.”
Ito found the process to be a challenging endeavor.
“Publishing a book was very difficult,” Ito commented. “From the editors and photographers, to the design of the book, there were opinions from many people, so not all of my opinion or views went through.
“When the publisher proposed a draft that was completely different to the image I had of what I wanted my book to be, I almost thought about calling off the entire project,” Ito recalled.
“At last the book was able to grow into something that I was satisfied with, so it was good. However, I don’t think I will release any portfolios in the future. Even if I choose to, I will self-publish it. But, overall, it was a very good experience.”
Speaking of copyright, I asked if she had ever discovered anybody copying her work.
“I’ve seen some on Instagram,” Ito said. “It was strikingly similar, so I just was amazed. When I see them, I just think to myself, ‘Oh it was a good enough costume for someone to copy it.’ ”
Having designed costumes for skating, rhythmic gymnastics and ballet, I questioned Ito if there were other sports she would like to design uniforms for.
“I think gymnastics and artistic swimming,” Ito stated. “Other than sports, I would like to design something for weddings or for an opera. I want to create a dress without having to care for its weight.”
Having accomplished so much at a relatively young age, I concluded by asking if Ito would like to design her own line of clothing someday and what her future goals are.
“Is it fine if I understand a brand as a company?” Ito responded. “Until a few years ago I had a period where I was thinking of opening up a company. However, thinking about borrowing an office and employing workers, I felt as though it would just add to my workload and I didn’t know if it would have any benefits. That’s why I’ve stayed as a freelance designer.
“I’m happy being able to design and create costumes, so I don’t think that will change in the future.”
Moving forward, Ito wants to impart her wisdom about the art of costume design to others.
“My next goal … I want to find some closure with the Beijing Olympics,” Ito said. “I’m not thinking of quitting creating costumes, however, I think my peak will be the next Olympic Games.
“In fact, I haven’t received any orders from the skaters of the coming generation,” Ito noted with humor. “I receive many inquiries like, ‘Please teach me how to make costumes’ from mothers and students, so I think in the future it would be nice if I can open something like a private school.”
The recent decision by Skate Canada to cancel the season-opening Junior Grand Prix in Richmond, British Columbia, at the end of August is an ominous sign for skating in the short term.
The move comes nearly three weeks ahead of a deadline of June 15 that had been imposed by the International Skating Union’s Working Group in charge of planning for the coming season, and just 10 days after Slovakia had pulled the plug on the second JGP (set for the city of Kosice) in early September and the nation’s Challenger Series event scheduled for two weeks later.
The attempts to get the skating campaign disrupted by the COVID-19 virus are being compounded by several issues, including safety concerns, the various quarantine requirements and phased re-openings in different nations, politics, as well as finance.
All of these factors are combining to make it difficult to reach a consensus on when and how the JGP can begin. Sponsors and governing bodies will be reluctant to invest the time and money necessary to stage competitions that may not happen or not include fans if they do.
Without big money in television rights supporting skating these days, the pressure and urgency for coming up with a solution appears absent. Politicians are a lot more concerned about poll numbers than sports these days, and skating is far down the list even then.
Unlike soccer’s Premier League, and the four major North American sports (NFL, NBA, MLB, NHL), where plans are moving forward for all to resume or begin play due to the huge TV money that is in danger of being lost, skating does not have as much at stake financially.
The Premier League and North American sports circuits also don’t have to deal with the complexities of international travel as much as skating does. With all of the skating events being held in different countries, it further complicates matters.
The argument can be made that the JGP season is more important than the senior GP, as it is crucial for the development of young skaters. My hope is that both seasons will eventually be held, even if they are postponed a bit.
One solution the ISU might have to consider, in a bid to buy more time for the virus concerns to recede, would be to have the JGP contested after the senior GP has been completed. All efforts must be made for the JGP to be staged this season.
Be it for work or a hobby, people need something that motivates or drives them.
Without passion, life can become mundane and monotonous.
Illustrator Mika Matsuda discovered her joy at an early age and is gaining attention in the global skating community for her excellent digital depictions of both Japanese and foreign skaters that are regularly seen on Twitter and Instagram.
In an exclusive interview with jackfigure.com this week, Matsuda discussed her background, drawings, and what attracts her to skating.
The 47-year-old Matsuda is a Tokyo native who has lived in Fukuoka since the age of three. With a full-time day job as an office worker, she uses her time after work and on the weekends to create her attractive artwork.
“I have loved drawing since I was very young,” stated Matsuda, who revealed that she has not had any formal education in art. “I attended a fashion design (dressmaking) vocational school. I have never learned painting professionally.”
I asked Matsuda about how she came to create art of skaters.
“I first drew some pictures of Mao Asada during the Sochi Olympics,” Matsuda recalled. “I also drew comedians and other famous people.”
Matsuda noted that her interest in skating became more intense as she watched Yuzuru Hanyu win his second straight Olympic gold medal at the Pyeongchang Games in 2018.
A mother of two children (a son who is 22 and daughter who is 17), Matsuda admitted that she and her kids have never skated.
I wondered how much time is required to create one of her drawings.
“A fast drawing takes 20-30 minutes, but some skaters take longer, up to a full day,” Matsuda declared. “I draw all of the photos digitally from the start. I rarely do it by hand.”
The illustrator, who also does drawings for weddings and birthdays through her website, is pleased that her skating work is gaining more notice.
“I’m very happy about that,” Matsuda commented. “My goal is to get my illustrations on official goods. For example, on keyholders and small merchandise. It would be nice if I could do something like that.”
Surprisingly, Matsuda said she has not yet had a skater request her to draw their picture. With her popularity rising, that seems sure to change in the near future.
With her work appearing to be highly marketable, perhaps on shirts and hats for example, I wanted to know if she had greater aspirations moving forward.
“I don’t have any plans to expand my illustrations into a book or exhibition,” Matsuda stated. “I don’t want to publish for money unless the skaters give me their approval.”
Having drawn so many skaters over the past couple of years, I wanted to know which one was Matsuda is most fond of.
“Yuzuru Hanyu is my favorite skater. He was a big training point for me, because his face can be the most difficult to draw,” Matsuda commented. “I look very carefully at his photos. His expressions during his programs really differ. He has a wide range of facial expressions. He does not have a set facial expression that he is known for.”
Matsuda pointed out that she very cautious when drawing the living legend.
“His fans look at my Twitter feed closely, so I have to be careful with his illustrations,” Matsuda remarked.
When sketching foreign skaters, Matsuda identified two that she especially likes to depict.
“Gabriella Papadakis (French ice dancer) and (former Russian world champion) Elizaveta Tuktamysheva are two of my favorites,” Matsuda said. “I have also drawn coaches like Eteri (Tutberidze) and choreographers like Benoit Richaud. I enjoy drawing retired skaters like Evgeni Plushenko and Johnny Weir as well.”
Matsuda enjoys watching skating in person when she gets the chance.
“I go to skating events when I can,” Matsuda stated. “But it is difficult to get tickets.”
My final question for Matsuda centered on what it is about skating that makes it more appealing to her than other sports.
“The charm of figure skating is it being a sport and an art,” Matsuda noted. “All skaters are athletes and artists. I feel it is a beautiful competition.”
Two-time world junior champion Alexandra Trusova, one of the stars of coach Eteri Tutberidze’s quadruple jumping stable, is leaving the group to train under skating legend Evgeni Plushenko at his academy in Moscow.
The news was confirmed by Plushenko to the Russian news agency TASS on Wednesday.
The 15-year-old Trusova finished third at both the Grand Prix Final and European Championships last season. She won the world junior title in both 2018 and 2019.
“I think that Sasha skated in Sambo-70 for so many years,” Plushenko was quoted as telling TASS. “You need to properly communicate with the leadership and coach. Life is such a thing that an athlete sometimes moves to another coach. I think this is normal.”
With the International Skating Union’s recent announcement that the approach to the coming season would be to decide several weeks in advance if events could be held, all eyes will be on the first Junior Grand Prix on the calendar this summer, scheduled for August 26-29 in Richmond, British Columbia.
The opening JGP could well be a harbinger for the viability of staging the entire campaign. If the COVID-19 crisis has receded significantly. and the opener goes smoothly, this could increase confidence that the entire JGP and Grand Prix series can be safely held.
Jackfigure.com contacted ISU announcer Ted Barton, who calls the JGP each season on YouTube, for his outlook on the situation in his home province.
“We are all doing quite well here in BC at the moment,” Barton wrote from his home in Vancouver on Saturday. “The government is beginning to look at opening outdoor sport facilities first then will consider indoor facilities in Phase 2. At the moment we still have our SummerSkate competition on the schedule, which is two weeks prior to JGP, however, we know that everything can change.”
The ISU announced on April 28 that a decision would be made 10 weeks in advance of each JGP as to whether or not it would take place, and 12 weeks before every GP on the calendar this fall.
“I think the June 15th deadline for the ISU decision makes perfect sense,” Barton continued. “That is another six weeks away. From an audience perspective the JGP is positioned well for return, but from a travel perspective for officials, skaters and coaches there would probably be some concerns.”
The JGP does not traditionally draw big crowds, so the prospect of social distancing should not be difficult, with the exception of the JGP set for Yokohama (Sept. 16-19) which would normally be sold out.
“It is wait and see and we can and will do what the leadership of our government allows and of course the decisions of the ISU,” Barton commented. “I am confident that there will be some skating somewhere this season and we hope that will be in the early fall, but it also could be closer to 2021 pending the changing virus situation.”
Barton, one of skating’s most popular figures, concluded his thoughts with a message of encouragement for the entire skating community.
“I send my best wishes for health and patience to skaters, coaches, officials and fans all over the world,” Barton wrote. “The beauty of our sport will at some point once again grace our lives with music and movement delivered by extraordinary young people and we all look forward to that day. Until then, please everyone, stay safe and healthy.”
The Japan Skating Federation announced its list of “Strengthened Athletes” for the 2020-21 season on Thursday. The roster of skaters is released annually and reflects those who will receive funding from the organization during the coming campaign.
Two-time Olympic champion Yuzuru Hanyu, four-time national titlist Shoma Uno and 2018 Grand Prix Final winner Rika Kihira lead the squad as “Special” or top-level designees.
Also included in the “Special” category are Four Continents bronze medalist Yuma Kagiyama, Wakaba Higuchi, Tomoe Kawabata, two-time world medalist Satoko Miyahara and Kaori Sakamoto.
The second level or “A” class male skaters are Keiji Tanaka, Junior Grand Prix Final champion Shun Sato, Kazuki Tomono, Sota Yamamoto, Mitsuki Sumoto and Lucas Honda.
The women in the “A” category include Yuhana Yokoi, Rin Nitaya, Marin Honda, Japan junior champion Mana Kawabe and Japan junior bronze medalist Hana Yoshida.
The third level or “B” class skaters for men are Koshiro Shimada, Tatsuya Tsuboi, Nozomu Yoshioka, Yuto Kishina, Sena Miyake and Kao Miura.
The women in the “B” category are Yuka Nagai, Shiika Yoshioka, Mako Yamashita, Saki Miyake, Momoka Hatasaki, Mone Chiba, Chisato Uramatsu and Moa Iwano.
Notable names not making the list include Yuna Shiraiwa, Mai Mihara, Nana Araki, Rino Matsuike and the new ice dance team of Daisuke Takahashi and Kana Muramoto.
It was a banner season for Yuma Kagiyama in his first campaign as a senior skater in 2019-20.
Youth Olympic champion, Japan junior champion, silver medalist at the world junior championships, bronze medalist at the Japan Championships and Four Continents, and fourth place at the Junior Grand Prix Final.
It was the kind of debut that most skaters can only dream of. But it was the product of years of hard work by Yuma and his father and coach Masakazu, who represented Japan in two Olympics (1992, 1994).
With the 2022 Beijing Games less than two years away, the stars are coming into alignment for Yuma, who turns 17 on May 5, at precisely the right time.
Insight into the special relationship has been provided to jackfigure.com by Misao Sato, who assists the elder Kagiyama with the training of his son and also does the choreography, and trainer Yukino Hirayama, who handles Yuma’s preparation off the ice.
I wanted to know about how the coach and skater interacted on a daily basis in training sessions.
“Most of the communication between Masakazu Kagiyama and Yuma takes place at home,” Sato wrote in response to my question. “Mr. Kagiyama is a very serious man. He doesn’t favor Yuma over his other students. Probably rather the opposite. He can do that because he believes in his son.”
Sato made it clear that Yuma has a lot of latitude when he practices.
“Yuma basically practices on his own. During public sessions, he goes through all his elements and moves by himself,” Sato noted. “During figure skating sessions, he would go over to the boards to talk with his father only when there is something he has trouble with or needs confirmation on.”
Kagiyama normally trains at the Yokohama Bank Ice Arena not far from Yokohama Station.
“During the special elite skaters’ session in the mornings, Mr.Kagiyama has no other students,” Sato stated. “So both Mr. Kagiyama and I give him advice. But even there, Yuma sets up his practice routine, and I either praise him for what he did or correct him when necessary.”
Sato reiterated that the older Kagiyama, who is 49, is a tough mentor.
“Mr. Kagiyama is a very strict and severe coach,” Sato pointed out. “His coaching technique is probably based on his experience and confidence. He stresses the importance of basic skating skills and technique. Knowing Yuma’s character, Kagiyama Sr. tells his son, ‘Don’t think so much!’ ”
Father and son share mutual confidence in each other that comes out on the ice.
“Because Yuma has total respect for his father, he follows his father’s advice without any doubt or hesitation,” Sato declared. “Yuma’s belief in and adoration of his father and his pure love of skating allows him to tackle all the difficulties that he encounters. His strength is his ability to relax: he doesn’t have to use any unnecessary power when he does his moves.”
Sato concluded her observations by saying it is rare for Masakazu to instruct his son while he is skating.
“Even I don’t often see Mr. Kagiyama actually giving Yuma a lesson on the ice,” Sato mentioned.
Hirayama, who has been working with Japanese figure skaters for years, said that Masakazu requested no special favors for his son.
“When Mr. Kagiyama first asked me to be in charge of the off-icetraining sessions for his skaters, I asked if I should set up a different routine for Yuma,” Hirayama recalled. “Having been in this business for a long time, I know talent when I see it, and I knew Yuma had so much potential and is one of a kind.
“But Mr. Kagiyama simply said, ‘No, please treat Yuma the same.’ So I did. By this time, I’m sure Mr. Kagiyama knew that Yuma was on his way to the top. But maybe he didn’t realize that it would be this fast!”
Hirayama has seen firsthand what Sato observed about the communication between the Kagiyamas during training.
“I watch Yuma at a figure skating session once a week and I can confirm what Misao-sensei said,” Hirayama wrote. “Mr. Kagiyama is busy teaching other students and Yuma just goes about his routine, practicing one jump and then goes on to the next one. He seldom stops by his father.
“One obvious reason is that pro coaches are paid by the hour/minutes for their services, and even as his son, Yuma can’t intrude on his father’s lesson time. After he plays his music, he would stop by his father and get a few words of advice, but that’s it.”
Hirayama believes that when Masakazu became ill last year, it offered Yuma a chance to mature and take responsibility for his skating.
“When Mr. Kagiyama got sick last year, Yuma was forced to think and solve problems on his own,” Hirayama commented. “Mr. Kagiyama was such a strong skater and athlete and a powerful coach and father. Mr. Kagiyama himself must have been devastated by his illness.
“But his strength and sheer determination and love for his son enabled him to come back to work as a coach. Yuma must have been devastated as well: he probably never even imagined his father would get sick or be in the hospital. But Yuma learned how to fend forhimself, and to care for his father. It made him a stronger person and a tougher athlete.”
Japan junior star Tomoe Kawabata, who earned the bronze medal at the Japan Championships last season, will be attending Waseda University starting in May and become a member of the school’s skating club.
Kawabata’s mother, Takayo, confirmed the news in an email to jackfigure.com on Sunday. The official announcement was made Tuesday on the club’s Instagram page.
The 18-year-old Kawabata, who claimed the silver medal at the Japan Junior Championships last season, is coached by Yutaka Higuchi and Yukina Ota and trains at the Meiji Jingu rink in Tokyo. She is known for her big jumps and beautiful interpretation on the ice.
Kawabata, a native of Aichi Prefecture, had both of her programs last season choreographed by Stephane Lambiel. She was previously coached by Shoichiro Tsuzuki, the first coach of Yuzuru Hanyu, in Yokohama.
Former Grand Prix medalist Yuka Nagai is a member of Waseda’s skating club.
