Initially kick-started by CAMPFIRE, the biggest crowdfunding platform in the country, GoodMorning is a service specializing in social good. With the mission, “To create a setting where anyone can have a hand in social change,” GoodMorning strives to manifest “A society where no one’s pain is ignored” through their service. Momi Sako was involved in establishing the platform, and when it split off from CAMPFIRE in 2019, she became the CEO.  

As a crowdfunding platform for people who confront problems in society, GoodMorning has supported various fundraising efforts to solve such issues thus far: Study Coupon, an initiative to provide children with educational opportunities in Shibuya ward, the Tattoo Trial project, the first crowdfunding project for trial fees in Japan, and DAWN, a project based on resolving issues in fashion in cooperation with Itochu Corporation and Itochu Fashion System. 

The other day, GoodMorning announced that they’re dissolving this fall and that CAMPFIRE will operate the company again. Because CAMPFIRE will be running the company, the content itself isn’t subject to change. Following this change, Sako is leaving GoodMorning’s team in August and moving to CAMPFIRE’s human resources department. She plans to take on internal matters in the organization, such as the diversity of the employees. We asked Sako, who has decided to embark on a new path, to reflect on her past and speak on what kind of social good is required today.  

——When did you first become interested in social problems?  

Momi Sako (Sako): Around the time I went to a public middle school. My school district was in an area with a comparably striking economic disparity. Kids from financially stable households could choose to go to expensive private schools, but some kids weren’t from such families, so they could only apply to low percentile schools. I applied to numerous challenging, high-level schools, and even as a kid, I felt like it was unfair how one’s economic status narrows down one’s options. 

——You’re right. Aside from applying to schools, in general, it’s problematic how people’s opportunity to get an education is taken away from them because of their household’s financial status. So you became interested in that first; which social problem did you develop an interest in after that, in high school? 

Sako: I was looking for something to do outside of afterschool activities, school, home, or cram school, and found out about Katariba, an NPO. I joined their events, went to the area struck by the Great East Japan earthquake to volunteer, and partook in activities involving social issues. In high school, some older students were involved in environmental issues and NGOs. Rather than doing it for my future, I challenged myself to do things I was interested in and wanted to do. 

——It seems like many older students at your school were acutely aware of social issues.  

Sako: At International Christian University High School, where I used to go, we had numerous discussions and debates during class. We had opportunities to argue about topics like capital punishment and married couples choosing separate surnames. Debating with my classmates gave me the impetus to think, and it still informs the work I do today.  

Moreover, we attended a trial for class outside of the school campus, which I’ll never forget. The teacher asked us for our thoughts, and we talked about how we would’ve judged the defendant. In response, the teacher pointed out, “Why is it from the perspective of the judge? Did you think about how you would’ve felt if you were the defendant standing there?” I suddenly realized we had unconsciously taken the side of the powerful. It made me conscious of how I should hold my perspective. I still candidly talk to my friends from high school about politics and social issues on LINE, as though we were talking about what film we’ve watched. 

——Did you join CAMPFIRE after you enrolled in and then graduated from college?  

Sako: No, after I graduated, I joined a clothing company. Until then, I had been involved in and studying various social issues, but I couldn’t think of a workplace that would allow me to continue doing that. Although I was happy to join the company, I ended up quitting in around nine months. Once I started working, I reconsidered that perhaps there was a job where I could continue doing what I had been doing, which was related to social issues. Just then, a friend I used to volunteer with during college told me about how GoodMorning was being founded. I joined CAMPFIRE because I wanted to work for them. 

Shedding light on buried social issues, and making a change every day without giving up

——What aspect of GoodMorning appealed to you? 

Sako: I felt like I could use a positive attribute of mine, which is that I’m interested in many issues, to good use if I worked for a platform that supports people trying to solve social issues without limiting myself to one issue.  

——Could you talk about the work GoodMorning does? 

Sako: One of the project categories shown on CAMPFIRE is “social good,” and the projects in that category are posted on GoodMorning. The services and system are the same as CAMPFIRE, but the handling fee is 9% instead of 17% because we want to minimize the user’s costs. A full-time planner for social good supports each project.  

——What are some of the obstacles you face as someone who runs the platform?  

Sako: It gives me hope to see so many people continuing their activism without giving up, as well as those who support said activism, even though there’s a lot of negative news today. However, there’s an increase of people struggling to run a business because they’re not secure enough under the pandemic. Many of them have started a crowdfunding campaign to cover their financial losses. I think it’s wrong that struggling people have to fend for themselves while the government’s not supporting them enough, which they should be doing.  

——Some forms of support are necessary, after all.  

Sako: Crowdfunding hasn’t fully reached its potential yet. I hope to shed light on issues that haven’t been able to raise sufficient funds yet. 

——There’s a PR side to crowdfunding, but isn’t it difficult to spread awareness on social issues? 

Sako: Most crowdfunding projects get supporters from social media, and it’s great that those who relate to [a project] could support it. But on the other hand, this is a disadvantage for initiators who have no influence on social media. As a platform, we’re still looking for ways we can help to gain more supporters. 

——How do you get people to pay money to solve issues? 

Sako: In most cases, information such as a crowdfunding project’s description on their project page, how an issue will be solved by whom, and where the money is going become the main focus. The underlying social issue and why it arose to the point that it requires fundraising via crowdfunding doesn’t reach [the audience]. We’re figuring out how we could aid in communicating such circumstances. We want to do the best we can to support the initiator to make sure they can focus on what they need to. 

——The priorities become reversed when you have to spend time on PR even though you need funding for your activism.  

Sako: In some cases, yes. Also, I don’t think it’s possible to fix social issues by crowdfunding just once. One of the challenges is how long you can support it. The longest a project can be on [the website] is 80 days, so it’s hard to keep up with it afterward. If someone becomes interested [in a project], I’m sure they’ll have more opportunities to learn about social issues or activities as long we could create a lasting relationship. At GoodMorning, we have a monthly supporter option, in which [the supporter] can donate monthly. We sometimes introduce this option to the initiator.  

——Which project impacted you out of the ones you’ve helped with so far? 

Sako: It’s tough to pick one, but the Tattoo Trial project and a project that aims to allow married couples the option to have different surnames were impressive. Many people think the only way to change the system or law is to vote indirectly for politicians during elections. However, you could raise funds through crowdfunding and submit a petition or have a big case in court to change the system. It means so much that some individuals discovered they could support such things. Instead of giving up when [a candidate] loses an election, I hope to see an increase of people working to change things little by little every day.  

——Are there any projects you’re interested in? 

Sako: There have been a lot more projects about periods and sex education recently. Some projects hand out sanitary products, and some build study kits for those who’ve had their first period. The scope is wide-ranging, from big ones to those initiated by students. I’m so happy we’re becoming more able to discuss periods or sexuality in an open space.  

A role model who ensures people’s ability to be a front runner in any working environment

——As the initiators and projects become more wide-ranging, do people start demanding the same quality in the company itself? 

Sako: Social issues I don’t know about pop up every day. When I hear about something for the first time, I look it up or have a study session. Everybody has different fields of interest, so we deepen our knowledge while keeping each other updated. I think about diversity in terms of working too. 

——In an interview you gave previously, you said you didn’t think you would have children for a while upon being appointed the CEO at 25 years old. What do you think about the balance between work and raising children now? 

Sako: When I first got asked to become the CEO, I thought I couldn’t be pregnant for a while. But afterward, I changed my opinion: “If I think I can’t become pregnant because I got chosen to do this job, then others will think the same.” It’s not great to become that type of role model. I thought I would get in trouble if I said, “I’m going to be on maternity leave” because I had just got assigned the position. But it’s not right to get in trouble for that. If a man were going to have a child, he wouldn’t be like, “I’m going to decline the promotion,” right?  

I feel as though many women feel like they must achieve a career before giving birth or that women need to go at full speed to get to a place where they could take a break. Only those who have given 100% before giving birth could secure a job down the line; isn’t that wrong? I want to create an environment where both women and men could choose how to work flexibly depending on where they are in life. At CAMPFIRE, many women employees have returned from their maternity leave. Some employees are currently raising children. 

Because CAMPFIRE is reintegrating GoodMorning, I hope to make an environment where everyone can work comfortably for a long time. 

——When GoodMorning is going to be operated by CAMPFIRE again, will there be any changes in the service? 

Sako: There will be no changes in the content, workers, handling fee, and such. You’ll be able to use it just the same. Our challenge as an independent corporate group has come to an end, but we’ll continue to offer our help to tackle social issues, with “A society where no one’s pain is ignored” as our vision. 

——Lastly, you’re moving to CAMPFIRE’s human resources department in August. What’s next in store for you? 

Sako: I wish to create a work environment where both men and women could work at a good pace. The number of men taking paternity leave is still low nationwide, and women have the role of raising children and taking care of the house. I doubt women’s work performance could reach its full potential this way. Also, everybody has things that take up their time outside of work, such as sickness, caregiving, and hobbies. I want to build an environment where people could take a break without worries and work after said break.  

Momi Sako 
Born in February 1994, in Tokyo. After graduating from the International Christian University, Momi Sako worked at a clothing company and joined CAMPFIRE in January 2017. As one of the founding members of GoodMorning, a crowdfunding service specializing in social good, she has engaged in supporting several hundred projects. She was appointed as the chief business officer in January 2018. GoodMorning branched off in April 2019, and then she was made the CEO. Some examples include Study Coupon, a project made through a collective impact like Shibuya ward and NPOs, Japan’s first crowdfunding for trial costs, domestic groups providing free meals to children getting insurance, and emergency aid for domestic and international natural disasters. Sako is striving for a society made up of solidarity from each individual via crowdfunding. She is also working on solving social issues and spreading awareness. In August 2021, she is transferring to the human resources department of CAMPFIRE.
https://camp-fire.jp/goodmorning
https://camp-fire.jp
Twitter:@SAKOMOMI

Photography Mayumi Hosokura
Translation Lena Grace Suda

The post “A society where no one’s pain is ignored”—Momi Sako’s fight to shed light on hidden issues appeared first on TOKION - Cutting edge culture and fashion information.

Sari Kaede works across various disciplines like modeling and entertainment, as well as architecture and consulting. She transitioned while she was a graduate student at Keio University, and today, she communicates her views as a transwoman through lectures related to LGBTQIA+ issues. Her role as a model and talent is a part of such activism.  

On June 19th, You decide., a documentary film depicting Sari and the people around her, will be out in movie theaters nationwide. The film includes scenes of her competing in a beauty contest for transwomen and conversations with her father about her gender identity. However, Sari doesn’t regard it as an LGBTQIA+ film. We spoke to her about what she wants to convey through it. We also asked about her ideal vision of social diversity, which she’s striving for with her activism.  

——You wear many hats. What kind of work are you doing at the moment?  

Sari Kaede (Sari): I work as an architectural designer and consultant for new businesses at Nikken Sekkei. Until this point, [the clients would decide] the criteria like the type of buildings and the budget before architecture agencies got to work. But now, we receive more extensive offers, where [people say] “We want to discuss with you at this phase where we decide on the type of building, budget, and construction.” I sometimes get abstract requests like, “We want to create a space for reading.”  

Also, in my case, the way I work has been changing. As the person in charge of new businesses, I look for social issues and build projects from our perspective; this is how I work. 

——Is most of your work pertinent to social problems? 

Sari: I’ve been receiving more questions about Sustainable Development Goals (SDGs) from clients, in part, because of my identity. But in these times, corporations know it’s effective for them to work on SDGs if they wish to secure long-term profits. I’ve expanded my knowledge on SDGs through lectures, so my challenge is to see what goals we could achieve with the clients’ projects.  

——It’s a good thing to raise companies’ awareness about SDGs.  

Sari: Yes. However, resolving LGBTQIA+ issues isn’t a part of SDGs. The “achieve gender equality” goal is only about equality between men and women because some member states in the United Nations—who are aiming to achieve SDGs—persecute homosexuality by religion or law. I think it’s key to not only work on SDGs but to suggest what [factors] must be added into the “next SDGs.” 

——You’re also a model and a talent. There’s meaning in every activity you do. 

Sari: I only accept modeling jobs if I can talk about the background like, “This is why I’m in this brand’s promotional [content]” and whether it matches the context of what I want to convey. For instance, Frelsi is a high heel brand for people with bigger shoe sizes. The way they rework the molds [for shoes] and manufacture them resonated with me. Apparently, small foot sizes are the standard for shoe sizes, and in most cases, bigger sizes are just enlarged. But shoes that fit people with big feet are necessary.  

I’m also on ABEMA News and make speeches at events, and I try to partake in lectures for corporations as much as possible. More corporations are conscious of how they have to take on issues regarding gender now. I get a lot of offers like, “We want to hear from LGBTQIA+ people in the workforce.”  

——Although the level of awareness of corporations is higher, systems and policies still have a long way to go, yes? 

Sari: It’s said that about 10% of the population is LGBTQIA+. People know about the existence of that 10%, but we still [live in] a situation where it’s hard for LGBTQIA+ people to speak up. From the corporations’ perspective, they want to ensure excellent workers and employee turnover rates, so I would like to acknowledge [their efforts]. But because we can’t see [LGBTQIA+ representation], it doesn’t feel like it’s happening. Many corporations haven’t even achieved gender equality, which society has been discussing for a long time. We’re in a transition period right now. If you ask me if people consider LGBTQIA+ issues as their own issues, I think we’re not there yet.  

Everyone has an element that makes them a minority 

——What questions do corporations ask you at lectures, specifically?  

Sari: They ask many questions about job hunting. I break my lectures down into three parts—before I entered a company, the moment I joined a company, and the aftermath. I had already come out when I was on the hunt for a job, so I share anecdotes involving comments that hurt me then, acts of kindness, hardships I faced when I started working, and apt systems. 

——People have recently been talking about job hunting for LGBTQIA+ individuals. You also had a negative experience.  

Sari: I came out to a prospective employer, and they said, “I’m reluctant to make a judgment.” As a result, I didn’t apply to corporations like that. It would’ve been tough if I joined such a corporation, anyway. So, I only applied to companies that understood LGBTQIA+ people. The thing I struggled with at my current company has to do with qualifications. Whenever I deal with buildings or talk about architecture, I need to show a license with my ID photo. I realized that the other party gets confused when the content, gender, and name on the ID differ from the information they know about me. This isn’t exclusive to LGBTQIA+ people, as it’s a problem that occurs between married couples with different surnames or people who haven’t updated their license after getting married.  

——Are there any difficulties with coming out? 

Sari: I believe whether to come out or not is up to the individual, and it shouldn’t be systemized. People must have a safe environment for when they want to come out. The term welcoming out refers to an environment where coming out is welcomed. I hope more schools and workplaces could become welcoming out spaces.  

——Having the same number of men and women in companies is seen as something important. Is it also necessary for corporations to increase the number of LGBTQIA+ employees? 

Sari: It’s imperative to implement policies and support that make everyone stand on the same start line to remove barriers and inequality. For example, if working consecutively over the years is a condition in a promotion system, then the promotion of pregnant people will be delayed. To correct that, I think it’s fitting to [guarantee the] advancement of women by deciding on how many women executives there should be. However, I disagree with raising the number of women or LGBTQIA+ people as though they’ve been copied and pasted.  

To begin with, I think a part of people belongs to a minority of some sort. They might become a minority someday, no matter how they believe they’re in the majority. Here’s an everyday example: you struggle at a get-together because you don’t like beer (laughs). You never know when you might feel unequal because of your minority-ness. If a particular environment handles gender equality and diversity well, then it would accept problems that other minorities face.  

——If we think everybody’s a minority, then various issues will no longer be “special.”  

Sari: Everyone experienced the difficulties of living an abnormal life because of covid-19. And everyone became a minority. I noticed this when we switched to working at home, but companies that handled online work well were those that had already dealt with diversity. Because they had already incorporated diverse working styles, many people had experienced working from home while raising a child. That’s why they could respond smoothly. 

 “… I suffered from the masculine gender role… people asked me for LGBTQIA+-ness”  

——In the opening scene of your documentary film, You decide., you say, “You decide whether I’m a woman or not.” That scene was impactful. 

Sari: Regardless of gender, everybody compromises between expressing themselves and the limitations [imposed on them] by society. If your company doesn’t approve, then you can’t wear the clothes you like to work, right? Likewise, for me to live authentically as a transwoman, society’s understanding is also crucial. People often debate about which bathroom transgender people should use: transwomen who have medically transitioned and changed their gender marker could use the women’s restroom, but what about other transwomen? Instead of thinking about this as individuals, we need to think about it as a society.  

——You also face obstacles as a woman, yes? 

Sari: I came out because I suffered from the masculine gender role. But when I opened up about my transgender identity, people starting pushing femininity onto me. Then, when I told them they’ve gotten it wrong and explained my being [a part of the] LGBTQIA+ community, people asked me for LGBTQIA+-ness. When people try to recognize others by categorizing them, they could only separate them by gender. That’s why I don’t use the word LGBTQIA+ as much anymore.  

——Once issues regarding gender are resolved, then beyond that will be a society that respects individuals without categorizations. 

Sari: Of course, I think the term LGBTQIA+ is necessary right now to point to those who fall outside of the cis/heteronormative definition. But there are as many genders, ways of living and thinking, and religions as the number of people. As long as you have the category of “me,” then it’s alright. What I mean is, normalization is necessary, but you don’t have to make your gender your identity.  

——I heard you place importance on showing people you’re trans and live life regularly. That’s one way to show that your gender isn’t your sole identity.  

Sari: Yes. I sometimes intentionally say I’m a transgender architect because it’s hard for trans people to become architects. I hope this society could become one where this kind of expression is unnecessary. 

——The awareness of LGBTQIA+ people has increased, but there are still many aspects that need to be improved.

Sari: Until now, gender equality and LGBTQIA+ issues only reached LGBTQIA+ people or those interested. However, many people are outside of that discussion. Some people want to learn about the issues or situations, but there’s this pressure to show the positive side of diversity and individuality only. I would love people to come and talk to me. I want to study and converse with everyone, including those who don’t understand or relate to LGBTQIA+ issues. 

——Instead of pondering, talking is essential.  

Sari: Sometimes, when we don’t understand, we might be like, “I don’t understand this, and am disgusted by it.” The cause might not be within the individual but within the social structure. We could only understand this topic through conversations, so I want to update it by facing it. This isn’t just about diversity but also about SDGs. When there are goalposts like, “Let’s reduce CO2 and normalize electric cars,” sometimes it’s hard for people to question that like, “But isn’t that electricity generated by thermal power?”  

——I believe You decide. will catalyze people to confront issues like that. What do you want people to feel from the film? What do you want to say to them?  

Sari: I don’t think of that film as an LGBTQIA+ film. You could see me living normally by blending in at my school and company. Plus, the scenes of people around me are more impactful. Instead of showing a conclusion, authentic conflicts where the two parties can’t understand each other are shown, such as my father who can’t understand my gender. The English title, You decide., points to how I live is not only up to me—how you (society) view me plays one role in how I live. I would like to see how people are going to talk about this film.  

Sari Kaede 
Born in Kyoto in 1993, raised in Fukuoka. As a transwoman, Sari Kaede hosts lectures regarding LGBTQIA+ topics. After graduating from architecture school, she worked at architecture agencies both inside and outside the country. Today, she mainly works on designing architecture and consulting and works in a diverse range of fields.  
https://www.kaedehatashima.com/home-1
Twitter：@sari_kaede

You decide.  
Sari Kaede is gaining momentum as a new transwoman icon. A dream of becoming an architect, the conflict of being unable to fulfill the expectations of being a son, dialogues with family—such is her ongoing story about how she lives as her true self.  
Out on June 19th, 2021 in Euro Space and other nationwide movie theaters.  
https://www.youdecide.jp/en

Photography Yuri Manabe
Translation Lena Grace Suda

The post “Anybody can be a minority”—Sari Kaede’s message as a transwoman appeared first on TOKION - Cutting edge culture and fashion information.

Born in South Korea, Hanna Kang works in Japan as a TV personality, poet, international socio-cultural scholar, and founder of a beauty brand. That work attracts attention from many angles; some of that attention is on her tanka poems, through which she expresses her candid thoughts in Japanese, a language that is not her mother tongue. These poems have received high praise: Starting in 2016, she was selected for the Kadokawa Tanka Award for three consecutive years. In 2019, her first poetry collection, Mada Mada Desu (KADOKAWA) was published, and in March 2021, she won the 21st Contemporary Tanka Newcomer Award. Her reputation as a poet continues to grow. 

On top of it all, she launched BEAUTY THINKER in 2019 and vegan beauty brand Mirari in November 2020. It’s only natural that Mirari, started by the multi-faceted Kang, is also diverse in its expression. Her wide range of expression may appear scattered at first glance, but she’s always expressing the importance of “facing yourself.” In this interview, Hanna Kang talks to TOKION about her thoughts on the brand.

——First, could you tell me why you came to Japan?

Hanna Kang: I was originally working as a newscaster and columnist in Korea, but I was so busy with work that I’d lost sight of myself. I wanted to find myself, so I traveled to 40 different countries across the world, and I felt like Japan was the right place for me. I couldn’t speak Japanese at the time, but it was a place that made me feel like I was onto something. So in 2011, I moved to Japan.

——Until you launched your brand, Mirari, what were you doing in Japan?

Hanna: I’m also an international socio-cultural scholar. I enrolled in the Graduate School of Urban Innovation at Yokohama National University, and I’m still doing research in the doctoral program. My research mainly focuses on international media content, and in parallel with that, I’m also a TV personality.

——I heard that you started composing tanka poems because of a show you appeared on as a TV personality. What got you so into it?

Hanna: I started composing tanka poems after appearing as a regular guest on NHK Tanka. Tanka is a form of writing for self-expression, so it requires understanding yourself on a deeper level. Sometimes, in the process of soul searching, I have to face things that are unpleasant or that I don’t like about myself. It’s really difficult, but as I searched, I began to understand who I was. As someone who had lost sight of herself while trying to please others, it [tanka] was something that I was meant to encounter, and I did.

Beauty is expressed through confidence, conscience, and words

——Why did you start your vegan skincare brand, Mirari, in Japan?

Hanna: I started a brand in Japan because I wanted to give back for everything I’ve been able to do until now. Also, my brand values conversations with every individual, so the fact that I’m physically in Japan and can communicate with people here, as well as my desire to help Japanese women are reasons, too. In the 10 years I’ve been working in Japan, I’ve listened to many women’s concerns. Many Japanese women are humble and reserved. That’s an incredible thing, but at the same time, I think it’s also connected to insecurity. I wanted to help people like that.

——What do you think about the social climate and the unique challenges women face in Japan?

Hanna: From a Korean perspective, I’m quite Japanese. I’m the kind of person who doesn’t express their opinion directly. But I think many Japanese people aren’t able to speak out when they don’t like something or think something is wrong. It’s very Japanese to read between the lines, and I like that about the culture, but a lot of people are just putting up with things. I want to tell them that it’s okay to be a bit spoiled. But also, I think our minds are meant to be strengthened rather than healed. In life, there will always be trials and tribulations. If you catch a cold, you try to strengthen your body and take measures to prevent it from happening again, right? So, we should also prepare our minds rather than wait in fear.

——Mirari is based on the concept of facing oneself, right?

Hanna: The brand name, Mirari, has two “i”’s in it, and the logo design features the two letters facing each other. This represents facing oneself, and also the brand facing users.

——Why do you want to convey the concept of “facing oneself” through skincare?

Hanna: When I thought about people’s beauty, and what beauty is, I realized there were three elements. The first is external appearance. I believe that cleaning up your appearance connects to confidence. Putting on makeup to change your appearance is pretending to be someone you’re not, which is different from just cleaning up your appearance. To give an example, it’s to strive to be a version of yourself that thinks you’re pretty even if when you’re crying.

The second element is conscience. I made vegan products to bring out people’s conscience. The third is words. I think words create a good mindset. For example, every item in the Facial Treatment Mask line has a name with “more” in it, like “more moisture” or “more love myself.” Cosmetics are often described in terms of issues, like dry skin or problem skin, so I chose the word “more” to say that you’re already good, but this is something to be even better.

——So you mean the beauty that comes from within. As a vegan beauty brand, how do you think Mirari brings out people’s conscience?

Hanna: Choosing items that aren’t tested on animals and don’t use animal-derived ingredients isn’t only eco-friendly and sustainable—it also brings out kindness. I’m not personally a vegetarian, but I think it’s easy to incorporate into skincare.

——Your products are vegan certified by EVE VEGAN, right?

Hanna: Our first line of products that are currently on sale, the Facial Treatment Masks, are made at a factory in Korea. To be EVE VEGAN certified, a factory inspection is necessary, so one of the reasons I worked with a Korean factory was that the factory already had that system in place. Also, I had the option of choosing the materials I wanted to use. I was able to create special sheet masks that don’t dry out even after 40 minutes as well as clear packaging.

——There are 6 kinds of face masks, all of them in clear packaging with different designs. What’s the thought behind that?

Hanna: Mirari has 13 promises. One of the promises is “We’ll do our best to communicate both online and offline to maintain a direct relationship with you.” Our clear packaging conveys safety by showing what’s inside, and it represents our commitment to disclosing what’s inside.

Hanna listens not only to her customers’ skin concerns, but their feelings

——Other than with the product, how else do you create a “direct relationship”?

Hanna: Online, Mirari holds webinars and Instagram Live streams, and we also value offline touchpoints. Recently, Mirari held a pop-up project with Marui called “Marui to Mirari.” I’m also particular about where we stock our brand’s items, and we won’t distribute to drugstores and such where the products are lined up against competitors. That connects to one of Mirari’s 13 promises: “We will give our relationship with you our undivided attention. We won’t compete and compare ourselves with other brands.” When there are many face masks lined up in a store, it’s difficult for consumers to choose. Our pop-up at Marui helped people understand Mirari’s philosophy, and I was able to communicate with visitors through our special brand installation. Also, once a month, I set up a “Mirari Day” and invite customers.

——What kind of event is “Mirari Day”?

Hanna: Some of the attendees are fans of my work as a TV personality or poet, and others are people who agree with the brand philosophy. Recently, all kinds of people have come, including high schoolers. With each person, I have a one-on-one counseling session for 20 to 30 minutes. When there are a lot of people, there might be dozens of people there at once. So it’s a lot of work, but it’s also a valuable time for me to get hints.

——That’s a pretty long counseling session. What kind of things do you talk about?

Hanna: They talk to me not only about their skin type or skin concerns but also their state of mind and emotions. It’s important to face the person you’re talking to and talk to them with empathy. But everyone tends to be reserved, so I start by saying, “It’s okay, you can talk to me about anything!” to get them to open up. (laughs)

In the past, a lot of people would buy products used by people they admired, like models and beauticians. But since the products were chosen by someone else, of course, sometimes they don’t work for you. With Mirari, I want to select, create, and propose products that work for each person. Just as with our products, I don’t want women to compare themselves to anyone else. That’s why I don’t want people to look up to me, either.

——Apart from events, how else do you interact with customers?

Hanna: The application, My Mirari, features radio, music, and newsletters. It also has a diagnostic function, and that data can be used to make discoveries. One of our 13 promises is that “We will take thorough feedback, and challenge ourselves to create new products that reflect that. We won’t give up until we find the best of the best for you.” It’s impossible to create something perfect from the start. I write about what I’m thinking or worrying about instead of hiding it. The important thing is to keep improving without giving up.

——How do you want to grow the brand in the future?

 Hanna: Our skin and minds change every day. So we can’t achieve real beauty unless we face [that]. While I still hope to focus on conversations in the future, if we get more customers, it’ll be difficult for me to do it alone. Mirari has a six-month user ambassador program selected from fans of our products, and I hold monthly meetings and interviews with them. Eventually, I’d like to hire someone from there to become a community manager. I want people who understand and love Mirari’s brand philosophy to be able to communicate that in the same way. I’m looking to expand globally in the future, but since conversations are at the core of the brand, I want to keep the conversation going no matter where we go. 

 Hanna Kang
After working in Korea as a newscaster, MC for an economic channel, and columnist, Hanna Kang moved to Japan in 2011. She is currently enrolled in the doctoral program at Yokohama National University’s Graduate School of Urban Innovation in the Department of Infrastructure and Urban Society. After appearing as a regular on the NHK Educational TV show, NHK Tanka, she became involved in poetry. She was selected for the Kadokawa Tanka Award for three consecutive years from 2016, and her first poetry collection, Mada Mada Desu (KADOKAWA) was published in December 2019. In March of 2021, she won the 21st Contemporary Tanka Newcomer Award. In November 2020, she launched her vegan beauty brand, Mirari.
https://mirari.jp
Twitter：@kang_hannah
Instagram：＠kang_hanna_jp

Photography Hiroshi Fujiwara
Transltation Aya Apton

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In recent years, female entrepreneurs have received more and more media coverage. But the fact that “women” is deliberately added to the phrase “female entrepreneurs” reflects the current situation: Women are still rare amongst entrepreneurs and executives. According to Teikoku Databank’s “National Female President Analysis Survey (2020),” only 8% of Japanese companies had female presidents, a figure that remained unchanged from the previous year.

In this context, the venture capital (VC) firm ANRI stepped into the spotlight last November when it announced its plan to increase the percentage of companies represented by women to at least 20% of all investments in its fourth fund. Up until this point, the startup industry has been overwhelmingly dominated by men, with the boys’ club aspect of the industry seen as problematic.

Why are there so few female entrepreneurs, and what kind of changes need to happen in the industry to increase the number of women? We asked Senior Associate Nina Ehara, who is in charge of the D&I project at ANRI, including Blast Inc., the company behind Nagi.

“Feminism isn’t only a woman’s issue——it’s everyone’s issue.”

――Why did you want to become a venture capitalist in the first place?

Nina Ehara: I originally wanted to become an entrepreneur. From high school, I lived in America for four years, and after returning to Japan, I enrolled in the Faculty of Social Sciences at Hitotsubashi University. I learned about the startup industry for the first time at a G1 college* event I attended in my first year of university. From there, I started spending more time in communities like Hive Shibuya, an entrepreneur co-working space, and I was inspired by the people there. 

*An event for university/graduate school students hosted by the Globis School of Management.

――What kind of entrepreneurs were there at the time?

Nina: There was the team from NYAGO, an anonymous chat application that had been the talk of the town in 2018. I was shocked to see that people who I knew, who were close to me in age, had started a social phenomenon. I was aspiring to become an entrepreneur because I wanted to make an impact on society too, but I couldn’t find a business idea that felt right. 

From there, in my second year of university, I started interning at ANRI. I’d figured that the experience might come in handy when I started a business someday, but as I connected with all kinds of entrepreneurs as a community manager and saw the work of venture capitalists, I was drawn to the passion behind creating something from nothing. When I talked to the founder, Samata [Anri], about wanting to become a venture capitalist, he said, “Why don’t you try meeting a lot of entrepreneurs and talking to them first?”

――So you started considering investments when you were an intern. How about after that?

Nina: For half a year, I met a lot of entrepreneurs and did something like investment consideration. After that half-year, I found a company I wanted to invest in, so that’s when I became a full-time employee at ANRI.

――Were you already aware of gender issues at that time?

Nina: I’d originally entered Hitotsubashi University to study gender. When I was in high school, I was surprised by the fact that one of my male teachers was a feminist. Up until then, I’d felt reluctant to advocate for women’s rights because it felt like I was only advocating for my own rights. But that teacher made me realize that feminism isn’t only a women’s issue——it’s everyone’s issue.

“Those events don’t have a welcoming atmosphere.” The truth about the barrier that women feel.

――I heard that ANRI’s target investment ratio for female entrepreneurs originally came from you. How did you become aware of the issues related to gender in the startup world?

Nina: At ANRI, we hold business consultation sessions for entrepreneurs called the D&I (Diversity & Inclusion) Office Hour. Within diversity, we mainly focus on gender, and we invite female entrepreneurs or entrepreneurs developing services for women to participate. We deliberately say “women” here. Originally, we’d been holding these events for several years, but there weren’t many women participants. When I asked why, I was told, “Those events don’t have a welcoming atmosphere for women,” which was an aha moment for me.

――Why did women feel like they weren’t welcome? 

Nina: I think people in the startup industry are good people, so they’re not excluding women because they want to discriminate against them. But there are times when I’ve felt self-conscious at drinking parties with men, wondering if I should be there, and on the flip side, there are times when men are treading carefully around me. When that happens, you get left out of the conversation, so there are times when you can’t access small pieces of information. It’s not uncommon for spaces to be male-dominated and have a boys’ club atmosphere, which makes it difficult for women to proactively participate. I feel that these small things add up to create a large gap.

――So are women unable to access certain information and such because they’re a minority in this industry? 

Nina: For example, there’s already an information gap even at the level of financing wisdom or what to put in pitch decks. There’s no clear data on what causes this information gap, but it tends to be easier for men to meet other entrepreneurs or mentors of the same gender. The psychological barrier born from gender is created by the reluctance or consideration that takes place precisely because women are very much a minority.

There aren’t many women entrepreneurs, so even if there are connections here and there, it’s difficult to turn that into a network. Mentors are hard to find and the people women can talk to are limited. There are a lot of things you don’t know right away as an entrepreneur, and every day, new problems and challenges pop up. Not having someone to talk to is stressful, and it’s an issue that affects whether your business can survive. That’s exactly why as a venture capitalist, I tell entrepreneurs that I want them to think of me as a business partner and come to me with concerns. 

――On top of the information gap, it seems like there are a lot of challenges for women as minorities.

Nina: The investor side is also predominantly male. So when women pitch to VCs, if they’re pitching to all men or there are only a few women, they aren’t guaranteed a psychological sense of security. When it comes to explaining the details of the business, if it’s a female-specific issue like menstruation, it’s difficult to explain. I think on the VC side, sometimes they’re afraid to ask questions for fear of sexual harassment, so they might be overly cautious.

Unconscious bias is also a big issue. Even with the same negative traits, I feel that women might receive harsher reactions. For example, regardless of whether you’re a man or woman, I think acting on emotion is something that depends on the individual, but it’s easy for people to make the association that women = emotional. More blatant discrimination includes seeking out men because they’re assumed to be better with numbers or childbirth negatively affecting a female entrepreneurs’ evaluation.

――Are the issues of diversity/gender in the startup industry limited to Japan?

Nina: Actually, even if you look at America, which is a startup powerhouse, gender equality hasn’t progressed that much in terms of the numbers. But they’re fast with taking action, like starting up funds geared towards women or other minorities. Still, the ratio of women and the amount of investment in women haven’t increased. The reality is that even if you look at it globally, there aren’t many success stories. 

Is affirmative action just “inflating the numbers”?

――If you increase the percentage of investment in female entrepreneurs, it’ll ultimately result in more female entrepreneurs. What kind of changes will come about from increasing this number?

Nina: The startup industry tends to be a meritocracy. So within that context, sometimes affirmative action is seen as “inflating the numbers.” Regarding ANRI’s actions, we’ve been told, “You shouldn’t only care about the numbers.” or “You should just invest in the best people.” In reality, the existing rules are patriarchal, and the field itself isn’t fair for women. I don’t think you can measure wins or losses within that framework.

These aren’t the people who invest in our fund, but some people say, “Funds are about returns, not concerns about gender and diversity.” 

If a community doesn’t share the value that having people from all kinds of backgrounds is an advantage for an organization, it won’t win the admiration of the best people. And no one wants to join a community that doesn’t respect their opinions or existence. For the startup industry, which requires the best of the best, I think the lack of diverse perspectives is a disadvantage.

――Why hasn’t there been much progress in changing attitudes towards diversity and gender equality?

Nina: There have been small steps in the startup industry, but I feel that the pace is slow. One reason is that since it’s an overwhelmingly male-dominated industry, there aren’t many opportunities to notice the disadvantages from the perspective of a minority.

The startup industry has a lot of people who genuinely want to solve social issues and do good, and there are actually a lot of good people. But on the flip side, some people think, “I don’t discriminate” or “My intention isn’t to discriminate, and I respect women.” That thought itself is great, but the gender gap is a structural issue. It’s something we should change by thinking not on an individual level, but a broader level.

――The target 20% investment rate for female entrepreneurs is a good start, precisely because it’s an industry that won’t change unless it raises awareness.  

Nina: Our diversity efforts aren’t only for female entrepreneurs, but are also incorporated into our hiring practices and scholarships for students doing basic research. When it comes to diversity, gender is a top priority issue, so that’s where we’re starting at the moment. Eventually, I hope to work on this from various perspectives, like religion, disabilities, and LGBTQ+. 

Not all female entrepreneurs are “career women.”

――There’s a saying that “you can’t be what you can’t see.” It must be an issue for female entrepreneurs that there’s a lack of role models of the same gender, right?

Nina: Back in the day, there were two choices for women role models: women executives who emphasized their gender or women executives who disregarded their gender. In an environment where only “career women” types who live for work can make it, I’m concerned that it’ll become the norm for people to think of women business owners as career women. 

So in that case, people who don’t fit into the “career women” category become people who don’t fit the image of a business owner. Women may try to fit the norm of business owners as a survival strategy, even though that may not be their true selves.

――It’s about adopting masculine qualities and adapting to a patriarchal society, right?

Nina: For people who have worked hard to conform to a patriarchal society, they might feel like movements for diversity are a personal slight. In some cases, resistance may arise in response to changing the rules that they’ve struggled with until this point. I think that kind of thing can be a cause of the backlash from women when it comes to the discussion of gender.

――Who is your personal role model?

Nina: He’s not a “role model” exactly, but someone at work who I admire is Anri Samata. Bad things are constantly happening to startups. (laughs) There are problems like you wouldn’t believe every day, but Mr. Samata seems to really enjoy it all, working side-by-side with business owners as if he’s a co-founder to overcome problems. I admire that kind of attitude.

――What are your goals for the future?

Nina: I think that the number of women should increase among investors and entrepreneurs alike, so I want to do all kinds of things to achieve that. I can’t demonstrate the full extent of my values while only working within ANRI, so I’d like to tackle the issue with the people creating the ecosystem.

Personally, I’d like to become a Reiwa role model. Until now, female role models were often distant, career women types. I want to take care of my private life, and I think there’s more to life than work. I think there are a lot of young people today who think that way, so I’d like to become a role model they can relate to.

Nina Ehara
Nina Ehara was born in 1997 in Kumamoto Prefecture. She is a graduate of the Hitotsubashi University Department of Sociology. At age 15, she moved to North Carolina, where she spent four years in high school and college. Starting from when she was in university, she was involved in PR for a startup from 2018, and she became involved in ANRI from January 2019. Today, she’s mainly responsible for investing in B2C services in the seed stage and services geared towards women. As an initiative beyond the fund, she regularly hosts D&I Office Hour, an initiative aiming to promote diversity and inclusion within the startup industry.
Twitter:@nina_ehara

Photogaraphy Yohei Kichiraku
Translation Aya Apton

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“UNNATURALLY NATURAL” is a skincare brand started by Ai Gemma Hirano, a founding member of the fashion brand “self-portrait.” Because of the brilliant career and the fact that the products are 100% vegan and environmental-friendly clean beauty brand, she was featured in many media in Japan.However, the actual message the brand wants to send is a little different.

“Non-natural” ingredients can also lead to healthier skin.

Ai studied in the UK at the age of 15.She spent her high school and university years in the UK, following her childhood dream of becoming a fashion designer, which she had dreamed of since she was five years old.Her inspiration for creating skincare products came long before the launch of self-portrait, when she lent a friend a skin toner lotion she had used as a student.

“She had sensitive skin and the skin toner l lent her didn’t work well with her skin. It caused her skin to become problematic and irritated. The experience was so shocking that it inspired me to create skincare products that are gentle and safe for all skin types.”

It was Vegan, which she arrived in the pursuit of gentle skincare. Vegan refers to things that does not contain ingredients of animal origin or exploited by animals. “Growing up in the UK, veganism was familiar to me, but I didn’t really adopt it until I was in my late twenties. I started avoiding dairy products because they didn’t fit my body, and that’s when I switched to a vegan diet. When I tried it for myself, I realised that veganism was safer and gentler on my skin,” she says.

In March 2019, she founded her own company, PORTFOLIOS, and launched her own vegan cosmetics brand, UNNATURALLY NATURAL, which combines effective “un-natural” ingredients with “natural” formulations that are vegan, cruelty-free, ethanol-free, gluten-free and sulfate-free.

“It’s not always true: all of the natural ingredients are good for your skin, and not all non-natural ingredients are bad for your skin. My priority is to provide high performance skincare with ingredients that are effective and directly benefit the health of the skin.

A selection of ingredients from around the world are used in the products. Some of the more rare ingredients include kiwi seed oil, which is rich in nutrients such as vitamin C, and pumpkin fermented extract, which breaks down dead skin cells and reduces the appearance of pores. As for fragrances, “the alcohol used in the extraction process is strictly controlled, including carry-over values. The combination of fragrances themselves is also strictly controlled in accordance with our list of non-use ingredients and clean philosophy”.

It currently offers three products, a toner, a serum and a moisturiser, but also planning to expand product range to include part care.

Vegan is not something special.

According to a survey by Grand View Research, the global vegan cosmetics market will grow to $14.4 billion in 2019 and $20.8 billion in 2025, accounting for 30% of the total.

As proof of “UNNATURALLY NATURAL” is a vegan product, the certification marks of the British Vegan Society “Vegan Society” and the American animal protection group “PETA (People for the Ethical Treatment of Animals)” are shown on the package. It is not uncommon in areas where vegan cosmetics are already known well, such as Europe, the United States and South Korea, but they are rarely seen in Japan. That means the market is still in the growth stage.

For this reason, when the brand was first launched, some people said, and wonder whether the vegan market would really grow in Japan.

“In Japan, the term vegan is not very familiar, and some people find it difficult to understand, or have a negative or a strict image of the word itself. For this reason, many people feel that they cannot be called vegan unless they practice it thoroughly. However, in recent years, vegan awareness and activities have become a little more flexible, and more and more people are starting close to home. In other countries, people have the flexibility to choose to be vegan for a set period of time, or just for one meal today, and I think it’s good to start in any way you can.”

For example, Meat Free Monday is a coined word that “stops eating animal food only on Mondays”. Veganuary is a word coined from the combination of vegan and the month of January, and refers to the idea of living a vegan lifestyle for the month of January. In addition to vegans who do not consume any animal origin, various choices are depending on the person, such as pescatarians who eat seafood.

“If you write “vegan brand”, it may seem that only vegans should use it. That’s why we call our brand ‘UNNATURALLY NATURAL’ is ‘vegan-friendly’. I think it makes it easier for more people to use the products, and I want everyone to be able to pick them up.”

Environment, animal welfare, social issues… Who should care about these issues?

Ai also says: “It’s great and surely happy that people buy our products because they are environmentally friendly or vegan. But it would be even better if the products you pick up and  buy for their cute packaging, which are actually vegan, sustainable, and other environmental factors without realizing it. I hope that vegan and sustainable premise will become the standard in the cosmetics industry.”

She believes that consumers should be able to choose products without having to think about environmental and social issues in the first place.
“That’s a goal that manufacturers should achieve, and consumers should simply choose a product based on whether they like it or not, or whether it’s good or not. Ideally, every product on the shelf should be a product that has been taken into consideration.”

“UNNATURALLY NATURAL” products are not only vegan, but also environmentally friendly in many ways. The bright pink plastic bottle were also chosen for their sustainability credentials. “Some brands use glass bottles for environmental reasons, but as we are taking our brand global, we opted for plastic for our international shipments. Plastic is lighter, has a low burden of carbon dioxide emissions and is less likely to break in transit. I don’t think there’s one correct answer when it comes to bottles,” she says. The company also has a multifaceted approach to social issues, donating a portion of its sales to organizations that support women and children, such as Make A Wish and UN Women.

This way of thinking and attitude comes naturally to Ai, she says. ” I’ve always wanted to do something that contributes to society. In the UK, there are companies with clean values like ‘Lush’ and ‘The Body Shop.’ I think I’ve been influenced by that environment.”

A “brand” that creates a sympathetic audience for the story.

Cosmetics with clean ingredients like “UNNATURALLY NATURAL” have been categorized as “clean beauty” and have been attracting attention mainly in Europe and the United States for the past few years. The market is expanding overseas, and “UNNATURALLY NATURAL” aims to be sold in the United States.

“I was often asked by many people why I didn’t launch my brand in Europe and the United States, where the market is already established. But I believe there is a market for vegan and clean beauty products in Asia,” says Ai. She already has customers in Thailand and Singapore, and often ships overseas.

Of course there are people in Japan who are looking it, but the real vegan market and vegan advocates in Japan are five or ten years away. “We want to grow to the point where we can import back from the US,” she says, “when today’s junior and senior high school students grow up. Today’s younger generation is exposed to global information through social media, so they are very flat-minded and flexible, and they don’t have a lot of prejudice against veganism. Many of them have their own opinions and see the brand at its core. We want to be the brand of choice for those generations and people.

Indie brands are appearing one after another overseas, ,and the clean beauty market in particular is growing rapidly. A good example is  “Drunk Elephant” which was acquired by Shiseido. On the other hand, the products from Japan sold in foreign countries are the brands of major manufacturers. When asked what the difference lies, she replies is that it is still core of the brand.

“In my opinion, in Japan, a ‘brand’ means something that gives you or leads to a sense of trust, so most likely the major manufacturer is a brand. In other countries, a brand is about creating a product that tells a story, not just a concept for each season, but a story about what you want to be in the long term.”

Different perceptions of a brand lead to different expressions. Major manufacturers tend to make strong appeals about effectiveness, which makes it difficult to understand the overall concept of the brand.In recent years, a number of D2C brands have emerged in Japan, and more and more of them have adopted a way of presenting brand stories. We may see more Japanese brands competing on a global scale in the future.

For “UNNATURALLY NATURAL”, the brand story is not just about being skin-friendly and vegan. ” I wanted to create a brand that was natural, yet approachable”, so it was important to me not only to have a formula and ingredients, but also a pop and cute design. If you’re not happy with the product, including its appearance and price range, you won’t choose it. To be sustainable, it’s important to be able to continue and appreciate the product, otherwise it won’t continue.” The brand’s greatest strength is that it is kind to the skin, to society, and to the people who use it and their feelings!

Ai  Gemma Hirano
Studied in England at the age of 15. She studied fashion design at Central Saint Martins and launched the fashion brand “self-portrait” in 2013 with Han Chong, whom she met while studying abroad. After returning to Japan, she established her own company PORTFOLIOS, in March 2019. And in 2020, she will start a vegan cosmetic brand “UNNATURALLY NATURAL”.
https://unnaturally-natural.com

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2020 was a year when the SDGs were more widely recognized. Furthermore, this year it seems like more sustainable ideas will develop. The makeup industry is no exception, and Rie Shiraishi, a hair and makeup artist active in many fashion magazines, is also influenced.

“We are in a situation where we have to be aware of climate change such as global warming without even thinking about it. I can’t change everything suddenly, but I became conscious about choosing cosmetics because I wanted to start with what I could do” said Shiraishi.

Considering the impact of the cosmetics industry on the environment, major cosmetics companies are developing new packages and prescriptions one after another. Recently, not only the environment, but also human rights and animal welfare are taken into consideration has become a point that consumers pay attention to.

Sustainable cosmetics: Exciting to look, Fun to use

It’s been about a year since hair makeup artist Shiraishi began to be aware of sustainability.

“Some people have begun to choose vegan food, and the presence of vegan leather has become commonplace in fashion. Over the past year, the media has begun to come up with plans for sustainability and SDGs. I think the shooting scene has changed too.”

Even more influential were the friends around her. “By communicating with those activists who send out the idea of ​​feminism, those who move to rural areas and live only with what they need, and the spirituality of what they are thinking and how they are acting now. It was an opportunity for me to think about what I can do as a member of society. “

She naturally began to choose sustainable cosmetics as well. The items to be selected are functional as cosmetics such as usability and good coloring, but also the concept of the brand, the method of procuring raw materials, and the environmentally friendly packaging are important factors. She introduces to us her 6 favorite sustainable cosmetics.

6 favorite sustainable cosmetics

Lips and Bronzer by “La Bouche Rouge”

The “La Bouche Rouge” lipstick inspired her to choose cosmetics from a sustainable perspective. The luxurious leather case is refillable and can be reused. “I was impressed by the high quality of the case made of vegetable tanning leather, which should be scrapped, and the color of the lipstick itself. Also, since I am a ‘lip freak,’ I eat more lips and get inside my body. I’m worried about bringing in ingredients, so microplastic-free was a fascinating point. “

Bronzer in a heavy vegan case, she chooses the brightest color. “Smooth, stretchy and easy to use. You can make a firm impression by putting it around your face quickly.”

Abeille Royale Lotion Fortifiante by “Guerlain”

Bees carry pollen and pollinate fruits, vegetables, nuts, and even cotton. However, the number is decreasing year by year, and it is only a matter of time before it directly impacts people’s lives. “Guerlain” collects royal jelly from such bees, but pays attention to the method of collection.

“‘Guerlain’ is working to protect the rare black bees that produce the ‘Ushant Honey’ used in this ‘Abeille Royale.’ Besides, in partnership with UNESCO, they are training and supporting beekeepers around the world. The goal is to revive 1 billion bees in the next 10 years. It’s wonderful to give back as much as you receive. The items lead to moist and firm skin.”

Cleansing water and Hand cream by “Officine Universelle Buly”

“A brand with a stance that sustainable and environmentally friendly products are the norm. I’ve always had sustainable items, but I like items that combine creativity and give you a sense of excitement.” The “Officine Universelle Buly” items are pleasing as they come in a heavy jar and the timeless design label.

Cleansing water is used as a wiping lotion at the beginning of skincare at night. “It has a refreshing texture, makes moisturized skin.” Furthermore, if you mix the plant-derived hyaluronic acid powder with cleansing water and leave it overnight, the texture will transform into a gel-like lotion. The powder is an ideal item that can be used as a gommage or mask by mixing it with oil.

Also, my favorite at home is a hand cream containing shea butter and beeswax. She wants to select ingredients that do not adversely affect the human body when applied to the hands that touch various parts of her body. “As a hair and makeup artist, I often wash my hands and apply antiseptic solution, which tends to dry my hands. The cream with a nice texture is perfect for morning and evening care.”

Moisturizing oil by “BAUM”

An item that uses a mixture of two layers, an oil layer and an essence layer. It is free of parabens, silicones and synthetic colorants and has a natural index of 99.3%. “Only this one will lead to fresh skin. In addition to the feeling of use, the sophisticated design and the circulation type manufacturing are consistent and wonderful.”

“BAUM” is thoroughly environmentally friendly. Returning part of its sales to forest conservation activities, it is also used for conservation activities such as growing and planting oak tree saplings at the stores used in the crate of packages. Some plastic containers are used by Bio-PET (containing plant-derived PET) and glass bottles are recycled. In collaboration with “Karimoku Furniture,” the scraps produced in the furniture manufacturing process are reused. “I was impressed by the unusual approach of upcycling with other industries.”

Rie Shiraishi
Hair & Makeup artist. After studying architectural design, she got interested in the beauty industry and started her current career in 2011. She works on hair and makeup for domestic and international magazines, campaigns and advertisements.
Instagram:@rieshiraishi1220

Photography Kazuo Yoshida
Translation Elie Inoue

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  2023-06-18

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“Whether I’m a woman or not, whether I’m an idol or not, I get to decide my future. I wish I didn’t need to say that to make it come true, but if I didn’t, I think it’d be difficult to seize my future.”

These words are from a statement published on idol Ayaka Wada’s website. In June of 2019, Wada graduated from Hello! Project’s idol group, ANGERME. But even now, as she remains active with live shows and writing, her title remains “idol.” At the same time, she’s attracted a great deal of attention for proactively speaking about feminism and gender, topics that are considered to be unwritten taboos for idols. What kind of future does Wada hope to seize by continuing to be an idol?

“You shouldn’t wear dark lipstick because you’re an idol.”

――You joined Hello! Project at just ten years old. Why did you decide to become an idol?

Ayaka Wada (Wada): I joined Hello! Project because my parents encouraged me to audition and I passed. But because I was in fourth grade at the time, it felt like a class or extracurricular activity. I debuted in 2009 at age 15 as a member of S/mileage [now known as ANGERME], and that’s when I started thinking of idol activities as work. 

――When did you start becoming aware of feminism?

Wada: When I entered my late teens and started blossoming into a young adult, I think I started increasingly feeling a bit confused about things. Like at one point, I wanted to look more mature, so I started growing out my bangs. Until then, my style was sort of “cute” with straight-across bangs, so there were some negative comments about me suddenly looking more mature. Also, people around me have told me, “You shouldn’t wear dark lipstick because you’re an idol.” I think they were saying it with good intentions, but I thought that was what I should do to express my music, so I wasn’t convinced by that explanation alone.

――Some idols refrain from expressing their opinions or ideas so they don’t go against the expectations of their fans or those around them. How did you deal with that?

Wada: Two years before I graduated from the group, when I was around 23, I became really conscious of feminism and started talking about gender even in front of people. Of course, there was some criticism, but more than that, there were people who learned about issues from my comments or sympathized with what I was saying, so the happiness from that was greater.

The similarity between women depicted in paintings and modern idols

――How did you become aware of the concept of feminism?

Wada: I encountered feminism from my art studies when I was learning about the way women are drawn, and I became very aware of it from there. Since learning about feminism, I’ve realized, “Oh, it’s fine to have thought something felt off” about the discomfort I’d been feeling until then.

――I heard that you were originally inspired to study art after seeing an Édouard Manet [19^th-century French painter] painting at an art museum in high school. Why did you decide to study art?

Wada: When I like something, I’m the kind of person who becomes completely absorbed in it and wants to explore it in depth. I was interested in the works of art and the painters themselves, and I’d often go to art museums and read books on paintings that I’d bought. And then my manager at the time told me that there was a discipline called art history, so I naturally started thinking about going to university.

――What kind of themes were you exploring in depth at university?

Wada: I studied Édouard Manet, and for my graduation thesis, I researched Manet and preceding generations leading up to him. Manet is a modernist painter, but in order to find out how Manet’s era of art came about, I was doing comparative research into earlier generations and working to understand the points of connection between the innovative and traditional aspects of Manet’s works and paintings. So as part of that, I chose one work and researched that, and that was a portrait of a woman named Berthe Morisot. Berthe Morisot was a painter too, and her works are also often studied from a feminist perspective, which led me to read books on art and feminism.

――How are Manet’s portraits different from other works?

Wada: In art, women are often portrayed as passive. Many works reflect the gaze of the artist looking at the subject, and many depictions emphasize the curves of the body. Also, it’s common to depict the woman in a way where the person looking at the work is a one-sided “viewer” peeking into the scene. On the other hand, the composition of the portrait of Berthe Morisot by Manet features the woman being painted staring back at the painter, so it’s not as smooth to look at. It’s not just the woman’s gaze—she’s also facing the front, so it gives a strong impression that she’s “facing” the viewer. I learned that’s how compositions of “viewer” vs. “viewed” are created.

――Idols are also on the side of the “viewed.” Do you feel uncomfortable with that?

Wada: I’ve been working as an idol for a long time, so I’m used to being watched by people, but sometimes I feel uncomfortable with the way I’m seen or perceived. I’ve always had questions about the fluidity of sexuality and gender norms, so I questioned various things related to the heterosexual nature of the idol profession. Even in song lyrics, most of the time the depictions of feelings are based on heterosexual love, and the protagonists of songs follow traditional gender norms. I felt uncomfortable wondering why gender had to be so limited and conventional gender roles were so often applied. And I was performing that on stage, so I often felt that I was seen and perceived that way.

“Things haven’t fundamentally changed.” What changes are necessary in the idol industry going forward?

――Since graduating from Hello! Project, you’ve taken on more art-related work, but you still work under the title of “idol.” Why is that?

Wada: I want today’s idols to have more options. Until recently, from my late teens to when I was 20, I couldn’t understand why there were restrictions like, “You can’t do that because you’re an idol,” and frequently felt frustrated. I don’t want members of the next generation to feel the same way. My exposure to various cultures, mainly through art, has made me realize that oppression comes from a devotion to a male-centric perspective. That’s why I’d be happy if I could add another image of an idol by voicing my realizations and opinions. 

――Recently, there’ve been more types of idols popping up compared to before, but are there still many things that haven’t changed?   

Wada: It’s true that there are all types of people and groups popping up in the idol industry compared to before, and the image of an idol has expanded. But things haven’t fundamentally changed, and you need to be really brave to speak about social issues. I think that’s exactly why speaking out is one action I can take as someone who has become more aware.

――Was talking about gender something you needed to be brave to do too?

Wada: When I started talking about gender, there were people who told me it was wrong for an idol to bring up gender issues. There shouldn’t be anything wrong with talking about gender, but I think idols need courage to speak up against the tide of the industry. 

――What changes do you think are necessary to turn the tide?

Wada: It’d be nice to be able to choose what you wear, what you look like, what you say, and all kinds of things. But there are many underage idols, so I think it’d also be irresponsible to leave everything up to them. For example, for gravure idols, if there’s a choice of whether to wear a swimsuit or not, there needs to be an age limit established, and the person can decide once they’re old enough to. I think it’s important for agencies to take care of girls above all else. It’d be great if producers could come from the perspective of, “What do I value about this girl?”

――How do you think fans see you now that you’re voicing your opinions?

Wada: Recently, I’ve been talking not only about gender, but about menstruation. Idols don’t really talk about that kind of thing, but menstruation is normal, and there’s nothing wrong with it. If you take into account the fact that even outside of the idol industry, in general, various information related to menstruation usually hasn’t been out in the open——I think it’s important to change people’s thinking about the issue and create an environment where anyone can access important information. Some of my fans are also people who have periods, and it made me happy to hear them say, “I’m glad to know that Ayacho [Wada] is a person just like me, living in the same way.”

――You’re a new role model for idols.

Wada: I think younger idols haven’t had many opportunities to become aware of diversity or gender up until now, so maybe they feel that way. But I don’t want to inadvertently influence those girls with my opinions. Still, I think that if I’m ever troubled by something, or think something is wrong, I want to make an effort for those girls.

Ayaka Wada
Ayaka Wada is an idol born on August 1st, 1994 in Gunma Prefecture. In April 2009, she was selected as one of the first members of the idol group S/mileage [later renamed ANGERME], which she later became the leader of. In May 2010, she made her major label debut with “Yume Miru 15” [Dreaming 15-year-old] and in the same year, she won the Best New Artist Award at the 52nd Japan Record Awards. On June 18th, 2019, she graduated from ANGERME and Hello! Project. While continuing her idol activities, she’s also kept a strong interest in art, which she studied in graduate school. Her specialty is talking about art. She especially likes the artist Édouard Manet and the work, “Berthe Morisot with a Bouquet of Violets.” She’s particularly fond of (and knowledgeable in) the fields of modern Western painting, contemporary art, and Buddhist statues. Her hobby is getting in touch with art.
http://wadaayaka.com
https://www.instagram.com/ayaka.wada.official/https://www.instagram.com/ayaka.wada.official/
https://twitter.com/ayakawada

Photography Kosuke Matsuki

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Waffle CEO Sayaka Tanaka and co-founder Asumi Saito are working to close the large gender gap in the tech industry and STEM fields by providing educational opportunities in IT for middle and high school girls. Their work has been attracting attention, winning the Special Award (SDGs Partnership Award) in the 4^th “Japan SDGs Award.”

In Japan’s tech industry, under 20% of engineers are women. Japan also has the lowest share of female undergraduates in STEM fields among 37 OECD member countries. Starting this year, programming has become a mandatory subject in Japanese elementary schools. So why is there such a large gap? TOKION talked to Sayaka Tanaka about the relationship between education and the gender gap in the IT/STEM fields.

The impact of parental gender bias

――How did you start Waffle?

Sayaka Tanaka: I went to a liberal arts university, and after graduation, I worked at a TV production company. Then, after two years as a freelancer, I started working for the NPO Minna no Code [Code for Everyone]. They offered programming education geared towards elementary school students, and I noticed that although elementary school boys and girls both enjoy programming, the girls stop participating for some reason after entering middle school. So we started programming and career events for middle and high school girls. Through that, I got to know Asumi Saito, who was working as a data scientist, and in November of last year, we established Waffle as a company.

――Had you always been aware of gender inequality? 

Sayaka: To be honest, I became aware of feminism when I started working. I realized the uneasiness I’d been feeling was caused by gender roles and the gender division of labor. For example, when I studied abroad in Canada, I saw fathers co-parenting and thought, “If this is ideal, why wasn’t my family like this?” And my first job was in the TV industry, where the directors are all men, so I felt limited as a woman. The lack of women in the tech industry is also an effect of gender bias. When you notice one thing, you start noticing all kinds of things, one after another.

――What are the main causes of the gender gap in the tech industry?

Sayaka: Gender bias is a primary factor. It’s common for the only adults a middle schooler comes in contact with to be parents and teachers, so it’s easy for just a few adults to have a strong influence. Some of our parents’ generation are still focused on education or qualifications, and it’s not uncommon that they hold unconscious gender biases like, “You’re going to get married and become a housewife, so you don’t need a high level of education.” We’ve had students tell us, “I want to become a data scientist, but my parents say, ‘Can a woman make ends meet with that job? If that’s the path you’re going to take, I’m not paying for your tuition.’” Parents sponsor our career paths, so that kind of thinking has a big effect on women’s futures.

――So our parents’ generation has to update their beliefs too. 

Sayaka: Data shows that mothers have a big influence on female students in particular. When I spoke at the event, “How does parental advice impact girls’ futures?” by the organization Hahaoya Update Community, many people commented that they realized they had their own biases, or that even seemingly insignificant things can have an impact.

The education gap isn’t just an economic issue 

――Waffle’s work targets girls in middle and high school. Why is it important for girls to learn at that age?

Sayaka: In America, you decide on a major after you enter university. But in Japan, to some extent, you pick whether you’ll go into liberal arts or science in high school, and you have to choose your major by the time you enter university. So girls need to have the option to pursue work in IT from the time they’re in middle and high school. I believe it’s important for them to experience it firsthand, and then make the connection between what they’re learning and jobs. Waffle has an online program called Waffle Camp that offers coding lessons and community. 

――In a world where many people don’t feel any connection with technology, how do you get people interested?

Sayaka: We create opportunities through free events. Recently, Amazon Web Services (AWS) held an online programming event for girls 8 to 24 years old called “AWS Girls’ Tech Day.” We partnered with them on finding attendees, and several hundred people participated. Also, we held a free “Technology x Art” event with Sputniko!, and about 150 female students joined.

――What kind of female students participate in these events?

Sayaka: The events are online, so there’ve been many people from places outside of Tokyo like Okinawa, Iwate, and Miyagi. It’s important to be able to reach people in the countryside, but the girls who know about these events already have an interest and are able to look into the events on their own. There’s an opportunity gap for girls who don’t know anything about the tech industry in the first place. It would be more accessible for some people to get information if it came from local governments, so I’d like to partner with local governments in the future. There’s also the challenge that if we only have people who are already interested in participating, the participants will only be people who are financially well-off. So I’d like to bring this to public schools that have people from all walks of life.

――Do students ever talk to you about their financial concerns?

Sayaka: People have talked to us about not having a computer at home. The international app-building competition, Technovation Girls, that opens next January is free to join, but you can’t participate if you don’t have a computer. I’d like to partner with a company to rent them out.

Also, students come to us not only about financial concerns, but also gender concerns. We say that we’re geared towards middle and high school girls, so there are people who are worried that they can’t apply because they’re not sure if they identify as female. So in the application requirements section, it says, “Those who identify as female, transgender, non-binary, and gender nonconforming,” but there are still times when I’m unsure of the best way to word this. 

The realization by girls that “they can pursue whatever they want.”

――Are there any mental hurdles preventing middle and high school girls from learning about technology?

Sayaka: One time, there was a student who was incredibly high-performing, even from an adult’s perspective, but she said she wasn’t going to pursue IT. When I asked why, she replied, “I don’t feel like I can be like my older or younger brother, who love programming as much as I do.” There are times when the girls don’t personally feel it’s an issue, but they quit because of the influence of the people around them.

――Is the lack of female role models an issue?

Sayaka: In other countries, they often say, “You can’t be what you can’t see.” You don’t often see women in the tech industry, so it’s hard to imagine. So at Waffle Camp, we have real women working in the industry talk about what they do. A lot of girls told us they had the profound realization that it wasn’t just about the job search, but the realization that they could pursue whatever they wanted. 

Also, even if you don’t necessarily pursue IT as a career, if you learn about it, you have the option of combining it with something you like. For example, there are students who want to help people with disabilities, and although they’ll major in that in university, they want to use technology to help people with disabilities. 

The industry’s gender gap “is also bad for men.”

――What is the state of the tech industry’s gender gap globally?

Sayaka: The gender gap is an international issue, and even the percentage of female engineers at GAFA (Google, Amazon, Facebook, and Apple) is around 20% [Amazon’s numbers are undisclosed]. But there’s widespread awareness of the issue. In Japan, the government also understands the importance of educating people in the tech field, and various universities are putting together curriculums that integrate the humanities and sciences. For example, even if you’re studying liberal arts at Ochanomizu University, they’ll issue you a certificate if you complete classes in a data science certification curriculum. So even if someone is a liberal arts student, it’s easier to try working as a data scientist, and they have the option of working in IT. It’s great to have the option, isn’t it?  

――What kinds of tangible problems are born out of the lack of women in the tech sector?

Sayaka: There are a lot of things in the world, not just in tech, that were made from a male perspective. In the past, seatbelt tests used male dummies and clinical trials used male subjects, so sometimes things weren’t suitable or could be dangerous for women or pregnant women. When women aren’t included in developing technology, that process can become unintentionally centered on men. Also, some women working in the industry feel that sexual harassment is prevalent and that it’s difficult to have their opinions heard. 

――Is awareness of this issue increasing within the tech industry?

Sayaka: I feel like even men are becoming more aware of this issue. Anri Samata, who founded the venture capital company ANRI, is a great example of that. Around the summer, Nina Ehara, a female associate at ANRI, pointed out that there were structural issues around the gender gap in the business world. And in response, ANRI announced that they would increase the percentage of women-led companies to at least 20% of all investments in the fourth fund they were managing. I get the impression that entrepreneurs are starting to become more aware too, partly due to Samata’s influence.

Also, at the companies that Waffle works with, even many of the men are aware of this issue. And at first, my partner was like, “What’s the gender gap?” but he has a deeper understanding after I’ve educated him on various issues, and it seems like he’s started to think this is also bad for men.

Creating change by working with local governments, federal governments, and our parents’ generation

――You’re not only doing work geared towards students, but also making appeals to local and federal governments. You made some public comments on the draft of the fifth basic plan for gender equality. What were the reactions like?

Sayaka: In order to close the gender gap in the tech sector, we need to change the culture and structure of our society, and change our society on a fundamental level. In the recent youth report*, Waffle put together public comments on the fourth area, “Gender Equality in Science and Technology, and Academic Fields.” To give an example of something we included, there’s a trend that 70 to 80% of science and math teachers are men, which can potentially give girls the impression that “Science and math is something men do.” Actually, at girls’ schools with many female teachers, it’s more likely for a higher percentage of girls to pursue science and math. So as part of our plan, we wrote a statement asking for the addition of an initiative for a teacher-training curriculum that increases the number of female teachers in science and mathematics.

In the recent November formulation of the fifth basic plan for gender quality, the report actually included recommendations from the youth! For example, in “Training the next generation of women in science and technology,” they added the line, “1) Strengthen education in AI, IoT, and other IT fields to realize Society 5.0.”

In the area of gender equality, the Minister of State for Gender Equality, Seiko Hashimoto, and the people involved have been more attentive to young people’s opinions than I imagined, and I’ve realized that we can change our world if we work hard enough.

*Youth report: This report aims to amplify the voices of youth for the 5th basic plan for gender equality, which will serve as a guideline for promoting gender equality for five years after its formulation. The recent youth report was led by the NGO JOICFP’s project, #男女共同参画ってなんですか？(#WhatisGenderEquality?), and created in cooperation with Waffle, Voice up Japan, Japan Youth Platform for Sustainability, and Plan International Youth Group. 

――What kind of work do you plan to do in the future?

Sayaka: It was really valuable that within a year of starting our organization, we were able to work with large corporations like Google and Oracle, as well as make policy recommendations. Next year, I want to reach people who are economically disadvantaged or have fewer opportunities, so I’d like to work in collaboration with local governments and schools. Also, we’re basically the only people doing this kind of IT-related work in Japan. Instead of doing everything from start to finish on our own, I’d like to expand and create a system that makes it easier for all kinds of people to get involved.

Sayaka Tanaka

Sayaka Tanaka was born in 1991 in Osaka. In 2017, she joined the NPO Minna no Code as the first full-time employee. In addition to working on projects sponsored by the Ministry of Education, Culture, Sports, Science, and Technology (MEXT), she has worked with boards of education in more than 20 cities across Japan for the promotion of school teachers to implement programming education in their classrooms. In 2019, she founded Waffle, an organization working to bridge the gender gap in the tech industry. In 2020, she was selected as a youth representative at WAW! 2020, an international women’s conference organized by the Japanese government. She was also selected as a youth activist at the SDGs Youth Summit 2020. Furthermore, she is a guest lecturer at the iU Johokeiei Innovation Senmonshoku University and was on the 2020 Forbes Japan 30 Under 30 list.
https://waffle-waffle.org
Twitter:@ivy_sayaka

Photography Yohei Kichiraku
Transkation Aya Apton
Special Thanks ukafe

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The problems are piling up in Japan. Even with a single issue like the gender gap, there’s a list of related problems, and all are a long way from being solved. And it’s only recently that people have started to pay attention to these issues in the first place–so it’s safe to say there are still plenty of issues we’re still unaware of.

Asako Tsuji is a creative director at arca who creates brand advertisements while also leading the women’s empowerment project “Ladyknows”. She also voices her opinions as a commentator on the news program, “news zero.” We talk to her about how she came to talk about social issues through so many different mediums.

What is femininity? An ad born out of personal experience

——You joined adot while you were in university. Why did you decide to go into advertising?

Asako Tsuji: I’ve always liked creating, whether it be drawing or making songs. When I thought about where I could express my feelings about the world, the feelings that I couldn’t quite put into words—I realized that was advertising. While you can create meaningful experiences with cinematic content, it only reaches people who set out to see it. That’s important too, but I wanted to be in the advertising industry because if you want to reach as many people as possible, advertising is a good way to do that, for better or for worse. 

——In 2019, you created an ad for Milbon that asked the social question of, “What is ‘joshiryoku?’”*

Tsuji: I think ad copy is often relatable to everyone, while simultaneously revealing something personal. Rather than address a message to the world, it’s easier to express yourself when the message is addressed to “you” and “I.” This copy also strongly reflects my background and opinions. 

*Joshiryoku: A Japanese phrase that is often directly translated as “girl power.” This phrase refers to a woman’s ability to act traditionally “feminine”—for example, taking care of one’s appearance, attracting men, or being skilled at housework. 

——How does your background relate to the copy, “What is ‘joshiryoku?’”

Tsuji: From kindergarten to elementary school, I attended girl’s schools. But from middle school, I decided to study at a school abroad with a lot of diversity and many nationalities—the total opposite of a conservative, exclusive school. I was raised in that environment, so until I returned to Japan for university, I hadn’t really felt the existence of “joshiryoku.”  But when I entered university, I was shocked to see that gender roles were still common practice—that it was normal for girls to be proper and reserved, and boys to be free and even a bit mischievous.

——When you entered the working world, what made you aware that you were a woman?

Tsuji: When I quit my combined school and went abroad in middle school, there weren’t really precedents for that around me. So I got some snide comments like, “You’re pretty mischievous for a girl.” And as I entered the working world and began accomplishing things, it increasingly became compliments that unconsciously reinforced stereotypes like,  “You work so hard for a girl” or “You even put men to shame!” Those are compliments because people view hard-working women as unusual, or think women are competing with men in a win-or-lose situation. It felt really strange.

And although in university, I was called “mischievous” for wanting to walk my own path, when I entered the workforce, that became me being able to “take initiative,” and suddenly it was a positive evaluation. That reminded me that evaluation from others is such an unreliable thing, and we don’t need to be bound by it. Shoko Ryuzaki (L&G representative who manages HOTEL SHE) said that the differences between individuals are bigger than the differences between the sexes, and I really like that quote. I think that’s exactly right. 

——So that pressure to act a certain way led to the copy. 

Tsuji: Women are Milbon’s main customer demographic, so as part of my creative conception, I looked up images of “joshiryoku,” a word associated with women. The results were exactly like you’d imagine: standard, conservative images of women. Humble and obedient. But the word “joshiryoku” directly translates to “girl power” in English, and when I tried searching for girl power, the results were completely different: Girls who stood out, and who were strong and beautiful for no one but themselves. I think strength doesn’t belong to a gender—it belongs to individuals. So I wanted to express that there are as many kinds of girl power as there are individuals. 

I cast Yukosu (Yuko Sugamoto), Youtuber Asagiinyo, Airi Arimura who was publicized for her plastic surgery, artist Ayano Kaneko, and a variety of people, including two people out of 600 applicants in a casting call. We talked to them about what they think “girl power” is, and did each woman’s hair and makeup in a way that visually maximized their individual strength and beauty. It’s okay to want to be a humble, gentle woman, and it’s okay if you want to be a strong woman who stands out. In the advertisement, I wanted to show that diversity and freedom to be yourself.  

——It was refreshing to see copy in the form of a question with, “What is ‘joshiryoku?’”

Tsuji: I wanted to create an ad that left room for the viewers’ own interpretation rather than just present a correct answer, so I wrote it in question form. If you scan the QR code on the ad, you can read the cast’s responses to “What is joshiryoku to you?”, and everyone’s answers are different. My aim was to create a message where viewers could think of themselves as the subject, giving them a chance to reflect. 

Answers are something you come up with yourself. Talking is a chance to become more aware.

——Your project, “Ladyknows,” also creates an opportunity to become more aware of social issues.

Tsuji: On a fundamental level, many societal problems relate back to the same main cause. Issues related to childbirth are connected to women’s careers, men’s use of paternity leave, income inequality, irregular employment, and many other issues. If you look at it from that perspective, you can understand how women haven’t gained their rights, and on the other hand, that there’s a social environment that doesn’t allow men to take paternity leave. Often, seemingly conflicting issues are actually connected. Ladyknows presents data related to these issues in the form of infographics, and I think that when we look at the facts and discuss them, we can think about an issue from a variety of perspectives.

We also distribute articles that go with the data, but I’m always careful not to present the answer in every article. It’s important that people inform themselves with different perspectives, and it’s ultimately up to the reader to decide what to think or what they want to choose.

——What problems do you think are created from being unaware or not knowing?

Tsuji: Unconscious bias and discrimination just means you haven’t considered another perspective. So rather than just turning my nose up at people, I try to listen to the reasoning behind their opinion. And usually, there’s a reason, so I can think, “I see” and become more aware. I don’t endorse their opinion, but I can understand it. I think it’s important to be able to separate things that way.

——As a commentator for “news zero,” what are you conscious of when expressing your opinions?

Tsuji: There are so many people who watch TV, so I try to be conscious of not making the subject matter too big. You have a short amount of time to speak, so when I try to keep it brief, it tends to sound polarizing. That’s why even if it cuts into my speaking time, I often preface my statements politely, like, “Of course there are all kinds of people…” so I don’t enforce a stereotype. I think the viewers have all kinds of opinions, so when I inform people, I try to value my own opinions while also learning from others’ opinions every day, like, “I hadn’t thought of it that way!” I try not to think of things in absolutes like right or wrong, and instead try to be understanding of differences.

——Up until now, commentators have been asked to play the role of showing the “right” answer. What do you think about this?

Tsuji: Even on social media, when it comes to elections and current events, you’re often asked about your opinion, like who you support or what you think. I think the reason a lot of Japanese people look for the “right” answer is that we’ve been influenced by Japan’s education system, which teaches us that there’s only one “right” answer. I also ask specialists and tutors all kinds of questions, but ultimately, I think it’s up to me to decide how to interpret everything. Although I can empathize with feeling like thinking of your own answer can be scary and a new responsibility.

How to deal with the intolerance to ambiguity

——When I see online controversies, I feel like Japan no longer has an atmosphere where everyone can freely express their opinions. 

Tsuji: I think Japan has very strong faith in education. Even in feminism, I feel that there’s a bit of an atmosphere where you can’t speak about something you haven’t been educated on. I once heard someone say, “Men who have never even thought about feminism have no right to talk about it now.” I felt really uncomfortable with that.

Of course, if someone who isn’t educated talks about an issue, there’s the danger of misinterpretation or someone’s general idea being wrong. But social issues in general won’t change unless we democratize awareness of the issues to more people, not just a few interested parties. Anyone, at any time, can become aware of an issue, learn about it, and change. So there’s no need for the “right to talk about it.” If people are outspoken about the things they think and notice, I think this will lead to more awareness.

——Do you think this is caused by Japanese society’s intolerance towards outsiders?

Tsuji: I think the intolerance towards the certain processes that we all go through—like the process of becoming aware of a new perspective, or the process of reflecting, learning, and changing even if you made a mistake—is apparent even in what I was saying earlier about looking for the “right” answer. No one is perfect, and everyone has their own unconscious biases, or perspectives they’re unaware of. So it’s important to take action and change, rather than just immediately criticize each other using a point deduction system based on one moment in time. Instead of condemning our mistakes or failures, we need to reflect on them together.

One time, a friend reached out to me about racial issues, asking, “Everyone is talking about it, but I’m honestly not sure what the issue is. Could you educate me?” That’s a question that comes from a place of wanting to understand and learn, but just saying “I don’t understand” can be seen as problematic or result in attacks, so it’s hard to say that on social media or other public spaces. But I think it’s more important than anything to have places where we can learn when we don’t understand, and to keep an attitude of wanting to learn.

And I think everyone should also take a good look at whether someone is intentionally trying to harm someone out of malice, or trying to educate themselves on something they aren’t aware of. We should make sure not to immediately judge someone for not knowing. To that end, it would be great to have a community to learn and discuss, rather than just lecture or debate.

——With recent online controversies around advertisements, there’s anxiety around making a mistake when you put something out into the world.

Tsuji: I understand wanting to criticize something strongly, but when you go too far, people can retreat into thinking, “It’s too risky, so let’s just stop talking about social issues.” I feel like that kind of point deduction system is really Japanese. In the drama, “Hanzawa Naoki,” people are appointed to a position to show people what they can do, and then if they make a mistake, they’re removed from the corporate ladder. In order to prevent that from happening, companies and creators first need to educate themselves—what the issue is, and the background, such as the surrounding discourse and movements. Also, what the current status of the issue is. If you’re going to tackle these issues, I think it’s a prerequisite that you confront them seriously, not just as a trend. And while we do that, I think we have to separate our individual anger and what’s necessary for society to move forward, so it doesn’t become a risk for companies who are taking the first step of bravely speaking up.

——Being visible in the media can be a “risk,” so why do you continue to speak up?

Tsuji: I think to change the world, we need to create precedents. The reason the rules and norms changed to allow women to vote, open up bank accounts, invigorate companies—it’s all because people from earlier generations took the first step and created precedents. For example, I hope that a regular 2-year-old girl talking on the news can become an example of how young people’s voices can be heard in the world. And I hope that continuing to speak out on social issues in the realm of creative advertising will create a path for others. 

Asako Tsuji
Asako Tsuji is CEO of arca and a creative director. A cross-border creative with a socially-oriented creative approach, she works in fields ranging from advertising to product development with the two main pillars of “making businesses with an ideology and social approach” and “making work with an obsessive worldview.” She’s been involved in creative direction in a wide range of projects, from real events to product planning and brand production. In the spring of 2019, she launched the product “Ladyknows,” which focuses on women’s empowerment and healthcare. From autumn of 2019, she became a regular cast member on the Wednesday broadcast of news program “news zero,” where she challenges the approach to social issues as both a creator and thought leader. 
Twitter:@ai_1124at_
https://arca.tokyo

Photography Mayumi Hosokura
Translation Aya Apton

The post Asako Tsuji creates opportunities for people to raise their awareness of social issues appeared first on TOKION - Cutting edge culture and fashion information.

Gender and politics are unavoidable parts of life

――You’ve been talking about topics surrounding politics and gender since your time working on HIGH(er) magazine, while you were still a student at Tokyo University of the Arts.

haru.: I lived in Germany when I was in high school, where I was considered a complete foreigner. And at first, I couldn’t really communicate well with the people around me. I made a zine with the desire to be understood by the people around me, and that led to HIGH(er) magazine. Basically, I find people themselves more interesting than topics.

For example, with HIGH(er) magazine, we’ve talked to the editors and distributors of “BIG ISSUE,” and covered topics related to sex, gender, and women’s bodies. We aren’t trying to claim that we’re going to solve all kinds of issues, but we want to tell the real stories of people who are affected by these issues. It’s important to look at numbers and statistics, of course, but I think hearing individual stories can reveal new perspectives. I’m really grateful to all the people who’ve shared their stories for our magazine so far. I don’t know how they feel, but I think when they share their stories, they’re also sharing a little bit of their world with us. I think that’s really amazing.

――What’s the story behind starting your company, HUG, last June?

haru.: My parents suggested that I go to grad school, so I applied for the sake of it, but they saw right through me in the interviews and I didn’t get in. When I was trying to figure out what to do, I had the idea to start a company where I could do what I had already been doing by myself, but with friends. That’s how it started.

We mainly do content production and artist management, but lately we’ve also started producing and selling “self-love” goods online, including a rice subscription service “Masshiro,” shea butter “EASY CARE BUTTER,” and loungewear “Rainbow Gowns.”

――What’s the concept behind each product?

haru.: The proceeds of EASY CARE BUTTER go to women workers in the West African country of Burkina Faso. I bought shea butter for the first time about two years ago from someone who had worked for an organization in Burkina Faso, and it was really good. There are so many cosmetic products in the world that it’s hard to even choose one, but with this single product, you can take care of your face, body, and even your hair. And rather than randomly picking a cosmetic, this product actually gives back to the women who produce it.

The Rainbow Gowns were produced in Japan, and they were pure white. They looked a bit plain, so we tie-dyed them ourselves. (laughs) And then with the rice subscription service, we got the idea because one of our signed artists’ family has a rice shop. We started talking about how heavy and difficult it is to buy rice, so we offer two kinds of rice: One chewy rice that goes well with strong flavors, and another that tastes good even if it’s cold. We send those out on a subscription basis.

On growing up in an environment where “your decisions are your own business.”

――I feel like you’ve stood out since you were a kid. Is that the result of the environment you were raised in?

haru.: My family believes that basically, your decisions are your own business. For example, for middle school graduation, it’s common for parents to attend. But in my case, my parents told me, “This is your graduation, so you should enjoy it yourself.” and sent me off at the door. I lived away from them in high school, too, but we really didn’t keep in frequent contact. My parents don’t really heavily scold or praise me, but they also never reject who I am as a person. I think that’s been a huge support for me. 

――When you lived in Germany as a high schooler, did you feel there were any differences from Japan?

haru.: I spent two and a half years of elementary school as well as four years of high school in Germany at a Waldorf school.* They put a lot of emphasis on classes that cultivate intuitive skills, like music and art, and there were no report cards. There was really a great sense of being accepted and seen. So I was really surprised at how different it was compared to Japanese schools, where you’re always being told that this and that are wrong. The school uniforms also felt really constrictive. I’d loved fashion since middle school, so I wondered when I’d be able to refine my tastes.

*Waldorf education: Also known as “Steiner education.” A curriculum that respects the individuality of each student and aims to bring out the best in their abilities. The first of these schools was built in Germany. 

——Are there differences between Japan and Germany in terms of ideas around gender?

haru.: In Germany, I was a foreigner, so that was my identity first and foremost. My gender and what people thought of me came after that. I spent a lot of time just wanting to be recognized as a human being in the first place. But I think when I was attending middle school in Japan, I was really trying to be popular. I guess it seemed a bit easier.

In the first place, Japan and Germany have a completely different standard for what’s desirable in women. In Germany, it’s considered sexy to stand out, be intellectual, and voice your opinions clearly. Going back and forth between Germany and Japan, I didn’t really fit either standard, so when I came back to Japan for university, I was determined to prove that it’s okay to just be yourself.

――In Japan, there’s a lot of pressure to be stereotypically “feminine.” Did this make you feel uncomfortable?

haru.: In middle school, I lived in the countryside of Saitama without internet or social media, so my hometown’s TSUTAYA [a Japanese bookstore/video rental chain] was the only place where I could access other worlds. I would browse through the latest fashion magazines there, thinking, “this is what it looks like to be more advanced” and unconsciously, I was trying to fit the media’s image of an “ideal” girl. I was shocked when I realized that later. 

When I came back to Japan for university, the ads on the train tell us to get laser hair removal, and when I was interviewed, I’d get comments like, “If you’re going to call yourself a feminist, then don’t show off your chest so much.” I was really surprised. Recently, more people around me have been talking about marriage. Society portrays marriage as the image of happiness, but in reality, it’s very expensive, same-sex marriage isn’t recognized, couples can’t have separate surnames, and there are a lot of issues. There are too many inexplicable systems in place that make you wonder, “Who even thinks this is a good idea?” 

Are there any “real people” in controversial ads?

――The tagline used in Kai Corp’s razor ad became a hot topic.

haru.: I wrote the copy, “You decide whether hair is ‘unwanted.’” during the creation of EYESCREAM and KAI Corporation’s original booklet, and then KAI Corp. used it again for an advertisement after that. I wasn’t involved in making the corporate advertisement, but I was a bit uncomfortable with the final creative output. It used a CG model, which you can add hair to instantly, and doesn’t require the hardship or struggle that comes with “unwanted hair.” But I suppose if this ad is imagining the kind of person who should exist in the future, CG was a good choice. In any case, I think it’s very meaningful that a major corporation like KAI Corp. could send out this kind of message.

――How do you think advertising should deliver messages?

haru.: I think advertising is something that comes from communication between people. But I often feel that within the advertising industry, it’s not uncommon for people to just skim the surface and take advantage of trends.

Recently, there have been ads that stir up a lot of criticism, but I think some of this criticism can be healthy. There was this one Korean period product commercial that I liked. It was about how periods are hard and can make you not want to do anything, and that’s fine. There’s no need to try and act cheery when things are rough. Even if they made a similar ad in Japan and it stirred up criticism, for example, it could give people a real understanding of the effects menstruation has on the body, and it speaks to the real experience of women. But a lot of ads just skim the surface of an issue and package it into something pretty. I think the most dangerous thing is when the people making these ads don’t truly understand the problem and are just pretending they do. I try to be careful about this too.

――Whether it’s ads, media, or the world in general, people like to create categories.

haru.: I also get lumped into the “female entrepreneur” category, and I don’t feel any type of way about it, but I personally think I’m just haru. I don’t know that much about business, so it’s sort of funny that the people around me have labeled me an entrepreneur. So I play games, like, how casual can I be in a formal setting?

When I gave a speech at WAW! (World Assembly for Women), it was a pretty formal event, but I wore a t-shirt that my friend made me. It was a t-shirt with a graphic of a hand giving the middle finger, and it said, “and u?” (laughs). Things like that are funny to me. Even if I’m called an entrepreneur, I try to play and stay outside the box.

――Playing outside of the box seems quintessentially haru. 

haru.: I want to become everything. I’ve loved K-Pop since I was in middle school, so I’ve thought stuff like, I want to be signed to JYP! Or recently, I’ve been paragliding, so I’ve thought about continuing to learn and becoming a paragliding teacher. It’s fun to imagine other paths you could take in life. It’s easy to think that you only have one option in life, but a lot of the time that isn’t true. 

Creating “social sculptures” through small changes

――When you started HUG, you said that you wanted to create “social sculptures.”

haru.: The phrase “social sculpture” is originally from modern artist Joseph Beuys. At the moment, the members of HUG all do a bunch of different things, but I call them all artists. Everything they create or are part of is connected to society, and all of us are individuals who are shaping society. “Social sculpture” is a slogan so we don’t forget that fact.

Even with a single word, it’s possible to have an effect on the people around us. I don’t like the Japanese words for “husband” (danna) and “wife” (okusan). * I think your relationship and communication with your partner changes depending on whether you use these words without thinking about them or whether you consciously choose to refer to them as your “partner” instead. The chain of micro-relationships, from the level of “you and I,” creates a community. It’s not that I want to do something big, but rather, I want to be a “social sculptor” at a personal level through my attitude and language.

*The commonly used Japanese words for husband, “danna” and wife, “okusan,” are often criticized for reinforcing gender stereotypes. “Danna” can also mean “master,” while “okusan” has kanji meaning “in the back of the house.”

――How do you actually create “social sculptures”?

haru.: At HUG, there’s a chopper-riding duo called “Cool and Spicy” (Yugo Ooki & Takuya Uchida). We went to the same elementary and middle school, and they were those kinds of little punks who would make fun of girls like, “You have armpit hair!” But those two modeled for the EYESCREAM and Kai Corp booklet that I mentioned earlier. After they thought about the message, “You decide whether hair is unwanted,” it was such a refreshing experience to be able to talk to them about how they have had unrealistic ideals about girls that don’t even exist, and how shaving your hair should be your own choice regardless of your gender.

Change takes a lot of time. It’s hard to change someone’s mind with just one ad. In fact, the stereotypes that we carry with us have been built up over a long period of time.  

But that’s why it’s important to me to value people’s trust, and not to betray it. It’s not about suddenly saying something radical. It’s about continuously discussing what we want the world to look like at every turn. I think the way we interact with the people around us on a daily basis will affect our future. 

haru.
haru. is Chief Producer of HUG Inc. Born in 1995, she entered Tokyo University of the Arts in 2015 and launched HIGH(er) magazine in the same year. There, she was involved in planning, editing, and production with the concept of “creating a space for people of the same generation to think together.” In June 2019, after graduating from college, she founded HUG inc. and became the director. With 45,000 followers on Instagram, she’s garnered a large following, especially among young people.
https://h-u-g.co.jp
Instagram：@hahaharu777

Photography Yusuke Abe（YARD）
Translation Aya Apton

The post haru. on Stereotypes in Advertising and “Social Sculptures” appeared first on TOKION - Cutting edge culture and fashion information.