What is the "central concept" that generates future growth?

Dentsu Inc.'s cross-functional creative organization, the "Future Creative Center" (FCC), is a group that supports future-building domains with creativity, extending beyond the boundaries of advertising. In this series, members involved in initiatives shaping unexpected futures within the "Future × Creativity" framework share behind-the-scenes stories of their work.

This time, the discussion features Dr. Yoshiki Ishikawa, a preventive medicine researcher and FCC advisor, and Mr. Noritaka Obuse, Director of the FCC. They explored the "central concept" they both champion as a key theme in shaping the future of companies and business.

The Origin of FCC: "Dentsu Inc. Planning Center"

Obuse: Since working together on a certain project, Mr. Ishikawa and I have become good friends. I'm deeply interested in the themes he researches—preventive medicine and well-being—which ask, "What does it mean for people to live well?"

Companies are often referred to as "corporate entities," right? So, I've always felt there are many commonalities between the growth and happiness of "people" and the growth and happiness of "corporate entities." If that's the case, couldn't Mr. Ishikawa's research and perspective on "What does it mean for people to live well?" also be applied to "corporate survival strategies"? That's one reason why I asked him to be an advisor for FCC this time.

And I was really surprised to learn you've studied Dentsu Inc.'s history so thoroughly.

Ishikawa: I just can't help being curious about it (laughs). I absolutely love the saying, "Knowing the Origin allows you to create the Original." When considering taking on this FCC advisory role, I naturally wondered: what is the very origin of FCC?

Obuse: That's such a typical Ishikawa question! What did you find?

Ishikawa: It led me back to Mr. Shoichi Kotani. He founded the Dentsu Planning Center in July 1962. Like FCC, he aimed to transcend advertising and put "creating the future" at the core of the business. He left behind this famous quote:

"Salespeople in other industries carry 'products' in their briefcases.
Dentsu Inc. advertising professionals' briefcases should contain 'ideas and plans.'"

And the Planning Center tackled "something" right from the start, but it was just so incredible...

Obuse: Ishikawa-san's research skills are incredible (laughs). So what did the Planning Center tackle?

Ishikawa: Standardizing presentations. More specifically, they standardized a presentation method centered on "rolling out concept-based campaigns across multiple media." ( Reference material )

Obuse: So the origin of what's now commonplace was actually Mr. Kotani!

Ishikawa: Exactly. But it also raised questions. While Mr. Kotani and his team did standardize presentations—which can be visualized like this:

In other words, while the "concept" at the entrance is incredibly important, the crucial "method for creating concepts" itself wasn't manualized.

That's when I thought: If FCC could standardize "how to create concepts," wouldn't that be incredibly meaningful? And if so, I could probably contribute as an advisor.

Obuse: I see. In a way, "concept" is a well-worn term in the advertising industry, but you're suggesting we shine a new light on it.

Ishikawa: Exactly. Needless to say, countless genius creators have left their own unique take on "how to create a concept." So, there are already plenty of "geniuses' methods."

On the other hand, and I think this reflects your character, Obuse-san, rather than relying on the genius of one person, I think it would be great if we could effectively standardize "how to create concepts together."

Obuse: Wow, you really get me (laughs). It's true that when it comes to creating concepts—as opposed to creative works where the artist's signature is emphasized—I value "layering ideas together as a team" more than relying on one person's brilliant idea. That's because ideas aren't valuable just for being generated; they need to be "socially implemented" afterward.

To draw out everyone's potential during that implementation phase, it's better if everyone involved feels a sense of ownership, thinking, "This idea is mine!"

So, in my direction, I prioritize making people feel, "This is an idea we all created together," rather than "This is someone else's idea, so I'm done with it."

Ishikawa: Wow, that's great. I really love that about you, Obuse-san (laughs).

What exactly is a "concept"?!

Obuse: So, what exactly is a "concept" in your view, Ishikawa-san?!

Ishikawa: If we think about it very simply, concept in kanji is "概念" (gai-nai). We can interpret this as "roughly, what's in everyone's minds right now," right?

Obuse: Exactly! Kanji characters are so well-designed.

Ishikawa: When I mentioned this to Mr. Ono at FCC, he said, "...so concept = ordinary, then?"

Obuse: I see! So a concept is "the ordinary."

Ishikawa: Then Mr. Ikeda, who was sitting next to Mr. Ono, said, "...So the first step in creating a concept is finding the 'normal that needs changing,' right?" I was jealous of how cleverly Mr. Ono and Mr. Ikeda phrased it—it felt almost unfair (laughs).

Obuse: Really? (laughs). But when Ishikawa-san posed that question to us, it helped us see the essence of concept creation too. Shifting this "normal that should be changed" into a "new normal" becomes the core of concept creation.

And what we realized anew is that finding the "norm that should be changed" is inherently difficult.

Ishikawa: Absolutely right! I believe "people's thinking abilities aren't that different." Otherwise, I couldn't do this job (laughs).

If we assume the "process" of thinking is fundamentally similar, then making the "starting point" of that thinking unique becomes crucial. And the very starting point of concept creation is asking, "What is the norm that needs changing?" That's where individuality truly emerges, I think.

Obuse: For us, the "norms worth changing" might be how we interpret the briefs we receive from clients, or how we question the underlying assumptions behind them.

And what's most crucial in concept creation is figuring out what kind of "new normal" we can create that will generate corporate growth beyond expectations.

Ishikawa: I agree completely. And here, I have something I want to say. As an FCC advisor, while learning about many examples from the Dentsu Inc. colleagues involved in "creating unexpected futures," I stumbled upon a startling fact.

What is it? It's "mottainai."

The value of creators lies not only in their "creations" but also in their "concepts."

Ishikawa: Dentsu Inc. creators have always presented various "ideas and plans" to address client challenges. Primarily in advertising communication and promotions. However, before proposing those specific tactics, they must first develop the foundational, overarching concept.

Obuse: That's right. First, the concept is clarified, and then specific expression ideas and plans are developed based on that.

Ishikawa: As mentioned earlier, if the expression ideas and plans are the "exit," then the concept is the "entrance." Dentsu Inc. has always created both the entrance and exit, but the focus has tended to be on the expression ideas and plans that actually go out into the world. Or, the emphasis has been placed there. However, the value of the concepts and ideas created as the foundation should actually be very high.

Obuse: Indeed, high-quality foundational concepts or ideas can sometimes be applied beyond advertising communication—to product development, service planning, business redefinition, and management strategy. Therefore, if a company can create a robust, high-quality "core concept" that serves as a driving force for growth, it can then deploy various initiatives aligned with that concept. While the intangible value of a "concept" is difficult to measure, it is truly very important.

Ishikawa: Yes. The final expression ideas and plans are very clear answers to solving problems. They use advertising communication to provide a direct, one-question-one-answer solution to the client's challenge. However, the concept built as the foundation at that time has the potential to provide a hundred answers to the client's challenge. This is because a single idea can generate initiatives across various domains.

Obuse: Creatives, in a good way, are intensely focused on the craftsmanship of the final output. Naturally, I think it's because they bear the responsibility of putting it out into the world. That's precisely why, conversely, they might sometimes overlook the value of the foundational concepts and entry points they built alongside the final output.

Ishikawa: From my perspective, I often find myself drawn more to the brilliance of the foundational concepts at the entrance than to the final output ideas. Concepts alone could sustain you for meals (laughs).

Obuse: A creator's value lies not only in the "output"—the final expression—but also in the "concept" that serves as the input preceding it. Moreover, these aren't mere theoretical concepts; they're concepts envisioned with the final "expression/output" that people will actually encounter in mind, making them highly effective. I want to leverage this when supporting companies in building their futures.

When you're at a disadvantage in terms of resources or funding, that's precisely when you should bring in a creative strategist and win through ingenuity.

Obuse: A "central concept" that can become a driving force for corporate growth also seems capable of integrating strategies for various stakeholders.

Ishikawa: The larger the corporation, the more prone it is to organizational silos, often resulting in fragmented initiatives across different departments. Ideally, all initiatives should stem from and expand around this central concept. Furthermore, the key to creating this central concept lies not in focusing on how to change the business or the company itself, but in adopting a higher-level perspective: how to transform the industry.

Obuse: That's the big-picture perspective of how to reshape the competitive landscape within that industry.

Ishikawa: Creativity is often said to originate in the right brain, but the latest theories suggest it actually arises from the back-and-forth between the right and left brain. And to facilitate that back-and-forth, a big-picture perspective that allows you to see things from above is crucial.

Obuse: So, to create high-quality concepts, you need this big-picture perspective, and that's essentially what creativity is. Since logical thinking is already a widely implemented skill in many companies, possessing creativity as a skill seems like an effective competitive advantage against rivals. Especially when you're at a disadvantage in terms of resources or funding compared to competitors, you can win with wisdom by having a creative strategist. It's a more efficient methodology, in a way, compared to investing massive R&D costs (laughs).

Ishikawa: It's also a trend of the times—concepts and ideas are valued. Even restaurants now compete not just on taste, but on their concept. I hope Dentsu Inc. can be recognized not just for ads and ideas, but as "the company that creates concepts."

Obuse: That's great. How do we create the core concepts that enhance a company's potential for leapfrogging? We want to leverage our skills in "verbalization," "visualization," "narrativization," and "implementation" to support creating a future beyond expectations, not just within them.

First is that it's "fun." They work seriously yet enjoyably, like they're playing a game, but they're incredibly dedicated. That atmosphere exists. I believe new ideas won't emerge unless it's enjoyable, so this is extremely important for work.

Obuse: I agree—ideas tend to come to those who are enjoying themselves, so that's a welcome perspective. It's strange, but ideas just don't seem to land on people who are frowning and looking serious.

Ishikawa: Second is the "sense of security." When we have meetings, they always end with a clear vision of hope or the future, right? They never end with no direction or a dead end. This might be down to the meeting leader's skillful direction, steering us toward hope. That provides a real sense of security.

Obuse: Ah, I see. Creative direction might actually be a hidden secret still within this industry. Since direction often happens internally, outsiders rarely witness it in action. Plus, it's something hard to put into words—more of a physical knowledge—so it feels like a surprisingly underappreciated skill.

Ishikawa: The third and final point is "kindness." This is the most important aspect—a kindness that embraces all kinds of people and all kinds of ideas. That's why the process is enjoyable, and because it encompasses diverse opinions, the final cohesive idea becomes kind to everyone. To consumers, employees, and management alike.

Obuse: Indeed, as I mentioned earlier, we place great importance on involving everyone. Rather than meetings focused on selecting ideas, we aim to create meetings where everyone builds upon ideas together, fostering the development of durable, strong concepts.

After all, I feel that if people only live within the predictable "expected daily routine," life inevitably becomes just about getting by. On the other hand, the possibility of an "unexpected future" beyond expectations is what makes eyes sparkle and allows us to live with excitement.

Therefore, I believe companies, as legal entities, should hold "the security of the expected" firmly in one hand while grasping "the unexpected future" with the other. Doing so boosts employee motivation, strengthens corporate culture, enhances resilience to accidents, improves investor perception, and ultimately increases market capitalization.

We at Future Creative Center aim to create this positive cycle by mapping out a company's yet-to-be-seen "potential for leap forward." Mr. Ishikawa, I look forward to continuing our deep dive into conceptual research.

Ishikawa: Likewise. Let's enjoy exploring these ideas together.