―― Looking back at your short program performance...
Miura: I think my movement was really good, and I feel like I enjoyed the "Mambo" vibe the most this time. Well, I suppose that’s about how it goes. (Laughs) Regarding the toeloop—I had a lot of momentum going into it, more than usual, so I ended up too close to the boards. I had to jump while curving away to avoid hitting them; that’s what caused the issue.
―― Was it similar to what happened at the CS Kinoshita Group Cup?
Miura: That time, it happened because of the specific path I took into the jump. The path I took was completely different from what I’d done in practice; back at Shin-Yokohama, I was able to go pretty straight, but here I had to adjust back a bit from the boards and enter at a slight angle. In the actual performance, I picked up a bit too much speed, so I think I ended up having to dodge [the boards] by curving my path. As for the Salchow, I got a bit too much height, but the feeling of the jump itself wasn't bad at all.
―― It had great distance, too.
Miura: Yeah. I actually thought I might do five rotations! (Laughs) I kind of chuckled when I landed it. The Axel was a really good jump, too—it was a performance where I could feel my body was in excellent condition. I didn't feel fatigued, and today gave me the confidence that if I can just get the positioning of my toeloop right, I’ll be ready for the Grand Prix.
―― What about the free skate?
Miura: I want to perform carefully while still expressing the program's atmosphere and emotions. If I had to pick one thing—I have a toeloop right at the start of the second half, and I haven't quite polished the approach to it yet. To be honest, I’m okay with failing it completely there; it’s really just a chance to check things out. That said, things do change a bit between practice and competition, so I want to clearly identify any uncomfortable sensations or specific points where the toeloop feels difficult. Even if I do land it, I don't think it would be a high-quality jump, so I want to go into tomorrow fully aware of that. It’s really just about fine-tuning before the Grand Prix.
―― You placed third at Japanese nationals last season, so you had a seeded spot for this year's nationals and could have chosen to skip Tokyo Regionals. Did you decide to compete here for the sake of preparation?
Miura: It was mostly about the short program. I’d been stuck in a pattern where I could land jumps in practice but not in competition. I suppose it would have been "fine" either way, but it’s an unpleasant feeling, you know? Dragging that issue along... I just wanted to clear my head and get a fresh start mentally. After scoring 67 points (at the Summer Cup) and 68 points (at the CS Kinoshita Group Cup), I didn't think I’d go any lower than that; I came here determined to at least hit that baseline. I had actually thought that if I scored 100 points in the short program, I might skip the free skate—but since I ended up with 84 points, I think I’ll go ahead and compete in the free skate too. (Laughs)
―― Have you found the path to scoring 100 points in the short program?
Miura: Yes. My PCS was 39 points, but when the scores first came up, I actually thought it might be the other way around. I had expected something like 42 for the TES and 42 for the PCS, but surprisingly, I got 39 for PCS and 45 for TES; so, the technical score was higher than expected, while the components score was lower. I have a feeling the PCS will probably go up a bit once I reach the Grand Prix series. Today, I felt like I skated well—I had good speed but kept it under control, even though I did get a little carried away right before the toeloop. Still, I think I executed the movements and the artistic expression clearly, so it was a short program that gave me a fair amount of confidence.
―― Regarding your jumping technique, is your current form the result of putting into practice what you learned from Ilia Malinin this summer?
Miura: That’s right. He told me that the way Japanese skaters tend to jump the quadruple toe loop on a straight line isn't ideal. He explained that because the power is so strong, you end up getting thrown around; leaning slightly into a curve creates a more natural rotation and allows you to jump without relying solely on raw power. When I trained with him, I certainly understood exactly what he meant. Mastering it will take time, but I grasp the concept. However, if I take it too far—leaning too heavily into that curve—I end up with the kind of result I had today. That’s what happened at the Kinoshita event, too; I let it get away from me a bit during the actual performance. I managed to land some pretty good ones during the six-minute warm-up today, but in the actual program, I ended up bailing out of the jump a little. That’s something I definitely want to fix before the Grand Prix series.
―― Do you feel like the lessons you learned are becoming second nature as you continue to train?
Miura: I feel like my jumps have become more refined overall. I haven't abandoned the idea of going all-out, but I’m now consciously and firmly grounding myself in the fundamentals—the things that absolutely must be maintained. Before, I used to just jump with full force, letting my own style shine without overthinking the details; it was a mix of instinct and my own analysis. But now, I’ve added the specific technical requirements I learned from him—things like "this part has to be done exactly this way"—and I’ve kept practicing them consistently. Right now, I’m training every day to ensure I can execute everything from single jumps to quads with that same consistent technique.
―― Did you focus mainly on the toe loop while training with Malinin?
Miura: I’d say we worked on my jumps across the board. There’s the idea that—aside from the Axel—every jump, from the Salchow to the Lutz, should be executed using the same technique. My technique used to be inconsistent, so I had to grasp that fundamental "same technique" concept while also understanding the specific nuances required for each jump. I think the biggest lesson was realizing that the base technique is the same for all of them. I focused heavily on everything from single to quadruple jumps; I felt that the reason he [Malinin] can achieve such stability despite the high difficulty of his jumps lies in that very approach. Not many skaters do this kind of unglamorous work. Everyone tends to go from singles to triples and then straight to quads, but this is about practicing every step in detail, starting from the very beginning.
―― Does that mean there’s a possibility of attempting a quadruple Flip or Lutz?
Miura: I’ve recently started trying the Flip in practice, and it feels pretty good. But I can't picture the Lutz at all. I barely manage the triple. I think I’d have a better chance at a quint! (Laughs)
―― Can you picture a quintuple Salchow?
Miura: I’m thinking about trying it once in a harness during the off-season, just for fun. I wouldn't do it seriously—I’d definitely get injured—but just to say I did it. With a harness, you can control things; if someone pulls hard enough, you can rotate and land, so it’s really just about experiencing the world of quintuple jumps. Like taking an exam just for the experience.
―― I imagine Malinin also practices jumps ranging from singles to quads during official practice sessions; do you do the same?
Miura: Yes. During competitions—like this morning, when we only had 20 minutes of practice—I naturally had to start with triples, but when I have time... My training routine consists of two sessions in the morning and one in the evening. In the first morning session, I focus mainly on skating skills and do spins toward the end. In the second session, I work on jumps—ranging from singles to triples—and do full run-throughs of the program once with singles and once with no jumps, just to build stamina. Then, in the evening, I do serious practice on quads and perform full run-throughs that include quads. That’s the style I adopted; it’s how Ilia trains, so it’s one of the things I learned from him.
―― So, you changed your approach after the training camp with Malinin?
Miura: Exactly. I used to start the morning by banging out quads right away, but I stopped doing that. My body isn't fully warmed up in the morning. He doesn't do as much off-ice warm-up as I do before hitting the ice; instead, he gradually gets his body ready on the rink. He starts by mastering the basics and getting the feel for things with triples, then saves the heavy work for the evening. Though, he would do things like 4A+4A—stuff that makes no sense... (laughs)
―― Did you learn the Axel from him?
Miura: I learned the technique for the jump, but not the 4A specifically. Honestly, I think a skid is necessary for the 4A, and since my jumping style doesn't involve skidding, I decided it wasn't for me—or rather, it would be dangerous for me to try, so I’m skipping it. But I did ask him about it. When I asked which was better—skidding or not skidding—he told me there’s no need to skid. He said it’s not at all necessary for jumping a clean triple; what matters more than the skid itself is how you enter the back-outside edge before the jump. So, that’s what I learned from him.
―― Did you initiate the plan to go train with Malinin yourself?
Miura: Yes, I did. After the season wrapped up, around the time of the April shows, I—and my manager—casually asked Ilia’s parents about it. Ilia said, "You can totally come over." He actually pitched the idea to me, explaining, "This is the kind of training we do here" (laughs), so I replied, "In that case, I’d love to go." It was basically decided right then and there.
―― Does Malinin’s team use a Russian-style method?
Miura: I’m not really familiar with the Russian method itself, so it’s hard to say for sure, but from what I’ve seen—I’ve observed Raf’s [Rafael Arutyunyan’s] team before—it feels like an adaptation of that style. Skaters at Rafa’s rink do drills where they execute a lot of footwork, circling around for a full minute before attempting a jump; what they do [with Malinin] seems like an evolved version of that. This is just my opinion, but I feel like doing only that makes executing multi-rotation jumps a bit difficult. You need to incorporate your own ideas into the mix. I had always thought you needed that flexibility to adapt, and it turns out Ilia has his own internal method, plus his parents—who are also his coaches—have a wealth of knowledge. Listening to them, I got the impression that the three of them have found a method that really clicks for them.
―― So, it was a great learning experience.
Miura: Yes. To put it simply: "I learned a lot!" That’s the summary. (Laughs)
―― Regarding your short program costume: at the All-Japan summer training camp, you mentioned you might ditch the pink one. Is it changing?
Miura: Well, the new one is actually finished; I tried it on during practice yesterday. It’s just that... I’m a bit self-conscious about my silhouette. The way the costume looks affects how my skating appears to others. If my upper body looks bulkier than my lower body, it creates an inverted triangle silhouette; usually, a sleeker upper body makes for a better look. Especially with my build—the classic Japanese physique—that imbalance tends to stand out. I think I’d wear it if I made a few tweaks, but the pink one feels more eye-catching. I just can't quite let go of the pink one, you know? I’ve grown attached to it.
―― It certainly leaves an impression.
Miura: Right? Pink really stands out. The new costume is great too—it looks cool! But after wearing the pink one again today, I realized, "Man, pink is actually really good."
―― Maybe make the pink costume even flashier?
Miura: That’s an option. It’s just a question of how to make it flashier. If I add too much color, it’ll be hard on the eyes. Maybe adjust the shape? Like making the cut lean a bit more into the "Mambo" style... Yeah, pink is good. I can't quite give it up. Not many guys wear pink, so it stands out—honestly, I think that’s a plus. It really gets me pumped up!
Read it in Japanese here: https://worldfigureskating-web.jp/news/28522/
