I like this simple order that is seen on Tokyo street corners. It simply says, "stop" to all of us who are rushing to cross the street.
Former New Yorkers like me are constantly crossing against the traffic lights in our rush to get somewhere but when I work in Tokyo, this simple sign is a reminder to follow the customs and rules of this society. It is a simple request to honor the ways of local culture.

Tokyo's business and creativity is battered by the global crisis, but the streets themselves may disguise the pain that has been afflicted upon the middle-class.　After all, it looks like everyone is still shopping. This is a culture that hides its problems in ingenious ways.

What is equivalent to what in America is called the "New Normal" in Japan?
Young Japanese consumers have turned their attention to local brands, not because of price but for the uniqueness that they offer.
Designers from the high-end and manufacturers known more for value are entering arranged marriages outside of their social standing.
Comme de Garcon's highly successful collaboration with H&M created new awareness for the retailer because Rei Kawakubo is not your "normal" glamour brand designer.
This past week's announcement of Jil Sander's new partnership with Uniqlo had both the designer and Tadashi Yanai beaming.
"I bet you are surprised to see me here." said Jil Sander.

Well, yes...and no.

The new world order means that collaborations are the new order where unlikely marriages will equal survival or growth. Perhaps, in the land where double branding has such a rich commercial history, Japan will show us how this strategy can offer more than an occasional exclusive product or PR stunt. What is interesting about the Jil Sander and Uniqlo partnership is that both pride themselves on quality within their respective price category. Some of the early newsmaking collaborations often lacked in quality and a contemporary expression of " value " which will be important in today's culture of New Normal.

"Mass" no longer means less in quality or originality.

我很喜欢这个在东京街道上到处可见的命令， 非常简单又直接地告诉我们不要急着过马路。像我这个以前住过纽约的人，常常不遵守交通规则，乱过马路，来到东京，这个“停止”的命令再一次提醒我，应该要遵守东京当地的习俗与规矩，这是一种尊重当地文化的方式。

东京的商业以及创意受到全球经济危机的影响，但是在街上我完全看不到中等阶级遭受经济危机的影响，看起来大家都继续买东西， 日本文化非常懂得如何掩盖他们社会上的问题。

在日本我们是不是能够找到在美国所谓的“新标准”？

年轻的日本人目前对日本当地的厂牌比较喜好，不只是因为价钱好，同时也是因为日本本地厂牌具有独特的品质。高价厂牌设计家以及大众化的厂商在他们的社交场合之外已经开始合作。

Comme de Garcon’s 最近与H&M的合作给服装专卖界带来一个全新的感觉，因为Rei Kawakubo不是一般大众化的厂牌设计家。

两个礼拜前，Jil Sander 宣布她与Uniqlo的最新合作关系，这个消息让Tadashi Yanai 笑脸满面。

“你大概很惊讶看到我吧？”Jil Sander 笑着说。

或许是，或许不是。

在这个新的世界里充满了新标准， 这种新的合作关系里，不见得两个厂牌融合就能够保证厂牌的长寿或是生意的成长。或许在商业历史上我们曾经见过两个厂牌合作成功的例子，日本现在有机会来显示这种新的策略比高级商品专卖的推广方式更有效。。Jil Sander与Uniqlo的合作，最难得的是他们双方都是以品质优先，不管是在高价或是大众化价钱的范围里。有一些比较早期的厂牌合作，他们通常不注重品质，而且缺乏对现代价值观定义的了解，这种价值观在今天文化的新标准里是非常重要的。

“大众化”并不表示品质低，或者是没有独特性。

Creative Chops: Where's the Beef?

The most rewarding outcome from our global economic crisis, is that authentic brands will survive, those with a vision and ability to take risks, will secure a new path. The people with true creative talent will surface above all the posers and "professionals" who look the part and talk a great game.

In the go-go years of unbridled growth, industries became bloated with people who 'handle" creatives, those who managed more their careers than anything else. They often offered no real opinion, except their boss'; their creative skill was to "manage up" and they had no real experience other than case-studies from the success of others.

The computer has given us instant knowledge, but it didn't make us all smart. It teaches new skills but it doesn't make everyone equal as a creator of ideas, art or communications...
The new democracy of creativity offered by technology has unleashed a wonderful spirit of self-expression, young people can make their ideas become a reality without the barriers of corporations and institutions. Open source alliances, consumer created designs, a new generation which thrives on collaboration has given the creative process a deep well of ideas and the creative community has grown in both size and relevance.

However, it also dramatizes the need, more than ever, for strong leadership as we yearn for the visionary with cultural acuity. In this global sea of opinion and ideas; the art of craft, uniqueness and originality fueled by a passionate personal point of view is paramount. It is time for all creative people to step up their game. Being truly "creative" today demands a greater depth and breadth of skills.

Recently, I had dinner with a marketing executive of a top global brand, he complained that in his company, some people who had his marketing job claimed a Creative Director title in other parts of the world. He objected vehemently, while his associates were talented professionals who deal with creative issues, he felt they were clearly not Creative Directors, nor did they have the specific skills or experience to serve that role. I replied that when I lived in New York, I knew many fashion aficionados, people who dressed with great taste and incredible flair...but having taste alone didn't make them a fashion designer.

There are so many wonderful aspects to our new creative democracy and we all benefit from a culture of openness. However, the ability to make something of the highest quality and originality takes talent and a passionate devotion to the skills of "making". Having the ability to execute, to make an idea into reality changes your thinking, concepting power and approach to ideas. This skill is what separates the truly creative and those with ideas. It doesn't matter if we are dealing with old media or new media...skill and talent still rules.

Case in point, I write a blog....but that clearly doesn't make me a Writer.

- John C Jay

创意的手段：真实的内容在哪里？

在目前这个全球经济危机里，我们最大的收获就是一些最原版，最具有真实感的厂牌，能够藉着这个机会来冒险，来发展出一个全新的方向。

一些真正有才华的人将会超越一些只会说大话而不做事，装作自己很了不起的“专业家”。

一些大型的连锁公司在经过一段过度成长的阶段之后，这些公司里到处都是只懂得“管理”创意者的人，他们除了有管理别人的经验之外，其他有关创意的技巧几乎都没有。他们无法表达他们真正的意见，只能代表老板传达意见，他们创意的技巧除了能够向上司报告以外，除了能够从别人的市场研究来学习以外，完全没有亲手创作的经验。

电脑给我们快速的常识，电脑并没有把我们变得更聪明。电脑教我们新的技巧，电脑也无法让每个人都能够创造新主意，艺术，新的沟通方式。高科技给创意带来了一层新的民主主义，高科技给年轻的一代带来了一种自我表达的精神，年轻的一代能够完全不受到大公司或者是学校的限制，来把他们的梦想与主意变成创作。这种完全公开，彼此分享的知识来源，以及消费者的设计，栽培了一群新生代的创意者，如此自我创意的集团已经越来越大，他们能够与当地文化互动的能力也增高了。

但是我们同时也发现我们现在更需要有远见，有敏锐文化领导能力的人的领导。在这一个到处充满了一望无尽的意见与创意里，能够把个人热情加入艺术创作的精巧，独特性以及原版度， 是非常重要的。现在正是我们创意者应该一起努力的时刻。以今天的标准来讲，要成为真正的“创意者”，需要比以前更深，更多的技巧。

最近，我与一位在一个全球名牌的市场总裁一起用晚餐，他抱怨一个以前在他公司的市场部门里工作的员工最近成为另一个公司的创意总监。他非常生气，他认为在他公司里有很多有才华的专业者，他们经常需要处理有关创意的问题，但是他认为他们很显然地不是艺术总监，因为他们缺乏担任艺术总监所需要的技巧与经验。我和他有同感，我说我以前住在纽约，我认识很多对时装设计很有兴趣的人，他们的穿着非常有格调，但是单单有格调并不足够让他们成为时装设计家。

在我们目前的全新创意全民主义里，我们能从这种完全开放的文化里得到很多好处，但是能够有能力创造出高品质以及完全原版的作品，需要有才华，同时也需要对“亲手做”的技巧有完全的热诚。 当你有能力来把主意变成创作时，你的思想会开始改变，你把创意变成创作的手法会改变。  这个技巧能够把真正有创意的人与其他只有创意但是没有热心来亲手创作的人分开。不管我们是处于旧的或者是新的媒体里，技巧与才华还是非常重要的。

所以，我会写博客，并不表示我是一个作家。

-John C Jay