"Performance and quality alone are no longer enough to make a choice." — Ikuo Maeda, Senior Fellow of Design and Brand Style at Mazda, feels a strong sense of crisis about this situation. At the root of this concern is the realization that "Japan's own design capabilities," or in other words, "Japan's aesthetic sense," are not being sufficiently respected in the international community.Premium JapanMio Shimamura, editor-in-chief and executive director of the Japan Cultural Promotion Organization (JCCO), spoke about the future of Japanese design.

Why are Mazda designers taking on the role of "promoting Japanese culture"?

Shimamura:I'd like to ask about your reasons for participating in the activities of the Japan Cultural Promotion Organization (JCCO). Mr. Maeda, you have a main job in design at Mazda, so why did you decide to join this organization as a board member?

Maeda:At its core, there was a strong sense of shared purpose. JCCO's theme of "sharing Japanese culture with the world" felt almost synonymous with our goal of "sharing Japanese aesthetics with the world." "Culture" and "aesthetics"—though expressed differently, their roots are the same. The main reason was that our desires aligned.

ShimamuraIs that an initiative for Mazda as a whole company, or is it closer to your own philosophy as a designer, Mr. Maeda?

(I.e.This is a concern I've personally felt strongly about during my 16 years or so working on creating Mazda's brand identity. The automotive industry today is crowded with brands from all over the world, and manufacturers from emerging countries, in particular, are rising to prominence. Frankly, performance and functionality alone are no longer enough to differentiate between brands. So, what criteria do customers use to choose? I believe it comes down to "which country it's made in" and "how beautiful it is."

That's why we aim to create products that embody Japanese aesthetics, but here we encounter a major obstacle. That is, Japan itself is not currently respected by the world as a "country with a strong sense of aesthetics." This cannot be achieved by the efforts of a single company; unless the brand value of Japan as a whole is enhanced, the feelings we put into our cars will not be properly conveyed. This awareness of a fundamental challenge is the starting point of my activities.

Drawing new ideas from traditional crafts, the origin of Japanese beauty.

ShimamuraI understand that in the course of tackling such challenges, Ms. Maeda has deepened her relationships with traditional Japanese craftspeople and frequently visits their workshops.

(I.e.I have had long-standing relationships with traditional Japanese craftspeople, and I regularly visit their workshops. It goes without saying that the works they create, which are one-of-a-kind pieces that require a great deal of time and are born from the skills, sensibilities, and experience they have cultivated over many years, are wonderful. Although the finished products may differ, I believe there is a great deal to be learned from their craftsmanship.

Unfortunately, even for works by individuals of national treasure caliber, there is a lack of proper venues and sufficient funding to showcase these magnificent pieces. Government support is also inadequate. Furthermore, even when traditional craft exhibitions are held, the works are often haphazardly displayed in venues resembling event halls. This enormous gap between reality and the sublime value that these works inherently possess is sometimes disheartening, as it reflects Japan's approach to culture.

We don't follow trends. A contrarian strategy to be "one of a kind" in the AI ​​era.

Shimamura: So, while you have an awareness of the issues surrounding the state of traditional Japanese culture, you are exploring your own unique methodology for elevating "Japanese aesthetics" into design, right?

Maeda: The usual process for car design involves planning, drawing, and then bringing it to life. However, I've reached the limits of that approach. That's why I'm exploring a completely different approach, a design that doesn't start with the car itself.

One example is co-creation with the "master craftsmanship" of traditional Japanese crafts. I have actually visited the workshops of master craftsmen and conveyed my own "ideas" to them, and they have created works for me. I only conveyed abstract ideas such as "I want to express these kinds of emotions and worldviews," and through repeated dialogue, they completed a single piece. This process influences both of us, and it brings about changes in our design style.

ShimamuraAutomotive design and traditional crafts. They seem to have absolutely no connection, but new ideas are born when the two influence each other.

(I.e.Actually, the Mazda design team currently has someone with top-level metalworking skills. He's not working on car design right now, but rather aiming to exhibit his own work at a traditional crafts exhibition. At first glance, it might seem like an activity completely unrelated to cars, but that's fine. We can be influenced by such activities in different fields, accumulate new knowledge, and ultimately translate that into car design. I believe this shift in starting point is crucial.

Even in the world of car design, it's possible to create decent designs using AI. However, it's difficult to create something original, innovative, or that reflects Japanese culture and aesthetics. What we aim for is a design that leads the times and leaves a lasting impression on people's hearts. You can't survive in this world unless you approach it with the ambition to create your own trends. Conventional methods won't allow us to surpass the present. We believe that sometimes, unconventional ideas are necessary to generate new concepts.

Why are "out-of-control leaders" necessary? Unleashing organizational creativity through "imaginative thinking"

ShimamuraI understand what you're saying, Mr. Maeda. What kind of leader should one be to build that foundation and atmosphere? And how do you bring out the team's creativity in an organization that tends to fall into predictable routines?

(I.e.I believe that to ignore trends and create something completely new, you need a "leader's recklessness." It's what I often refer to as "delusion" or "recklessness." Simply saying, "Think freely," isn't enough; young people these days tend to be serious and stick to small, predictable goals. That's precisely why leaders need to present a grand blueprint and strategy—a goal that's far removed from reality.

ShimamuraElon Musk of Tesla and Steve Jobs of Apple are prime examples of "runaway leaders."

(I.e.: That's right. They are definitely fantasizer, and you could even call them reckless. That's precisely why so many people are fascinated by them. However, there are different kinds of recklessness. What's important is whether that recklessness is underpinned by an "aesthetic sense" that is respected around the world. What Mazda is aiming for now is precisely a world that embodies that aesthetic sense.

Simply "preserving" is not enough. The perspective of "renewal" is necessary for cultural inheritance.

Shimamura: So, in the pursuit of aesthetic sensibilities, interaction with different cultures and industries is extremely valuable, isn't it? JCCO holds regular meetings, but have you gained any new perspectives from interacting with other board members who are professionals from different industries?

(I.e.Discussions with the JCCO board members are fascinating; I often discover new perspectives. As individuals who have reached the pinnacle of their respective fields, the words that emerge from their experiences and challenges are sometimes inspiring and sometimes reveal new viewpoints.

ShimamuraThe Premium Japan Award, scheduled to be held in September 2026, is an award that aims to pass on traditional crafts and culture to the next generation. What do you think is necessary to inherit and protect Japan's aesthetic sense and culture?

(I.e.This is a very difficult question, but I don't particularly like the word "protect." Because you can't protect anything by just protecting it. In order to preserve tradition, all kinds of challenges are necessary, including sometimes innovating and sometimes destroying. Without new challenges, it would probably be impossible to even "maintain" the status quo.

Shimamura: That's right. I always see the awards as a challenge. From the first year, with the support of the Agency for Cultural Affairs and the Japan Tourism Agency, we want to create a community where talents from different fields can meet.

(I.e.I believe that initiatives such as awards are not simply about introducing culture, but about rediscovering and refining this lost "core of Japanese aesthetics" and re-examining its value to the world. I believe this will also lead to enhancing the brand value of Mazda as a company, and ultimately be a big step towards restoring Japan's international competitiveness.

ShimamuraThe entire Japanese business community needs to rediscover the value of beauty right under its nose and transform it into a competitive advantage for the future. This major challenge is essential for the future of Japan. Thank you for today.

Ikuo Maeda

Mazda Executive Fellow, Design & Brand Style Supervision
Born in Hiroshima Prefecture in 1959. After graduating from Kyoto Institute of Technology, he joined Mazda Motor Corporation in 1982. After working at Mazda North America Studio and Ford Detroit Studio, he was involved in mass production design development at the head office design studio. After being in charge of multiple models as chief designer, he became head of design in 2009 and launched "Kodo," the design concept that permeates the entire Mazda brand. Since then, he has worked on many automobile designs and brand styles such as CI/stores, contributing to the establishment of the Mazda brand. He became an executive officer in 2013 and a managing executive officer in charge of design and brand style in 2016. He has held his current position since 2022. He currently serves as the representative and racing driver for MAZDA SPIRIT RACING, a new MS brand. He is also a director of the Japan Cultural Exchange Organization (JCCO).