As part of a series of interviews in collaboration with the New York Festivals, we’re speaking with 2026 jurors from across the region and the globe about the creative scene in their markets, what they look for in standout work, and more.
Next up in our series, we speak with Takaya Hoshi, Chief Strategy Officer, Dentsu Japan International Brands.
Takaya talks about Japan’s growing openness to hybrid thinking — where brands and creators blend craft, technology, culture, and community — and why that mix of rigor and play is producing work that feels distinctly Japanese while resonating far beyond its borders.
He also shares his perspective on why clients are becoming more cautious about creative risk in a social-first world, what he’ll be looking for as a juror at the New York Festivals Advertising Awards, and the work — across eras and agencies — that continues to shape how he thinks about creativity.
What inspires you most about the creative scene in Japan right now?
What inspires me most right now is Japan’s growing openness to hybrid thinking – where brands and creators blend craft, technology, culture, and community without forcing the idea into a single, traditional “ad” format.
You see it in collaborations rooted in real behaviours and local context, and in work that is meticulous in detail yet still willing to experiment. That mix of rigor and play is producing ideas that feel distinctly Japanese, whilst resonating far beyond Japan.
Two recent examples that capture this for me are:
PlayStation 5 — D-OOH at the station for the “It Happens on PS5” campaign. Ryogoku Station is the gateway to Tokyo’s sumo arena, so the placement immediately connects with Japanese tradition and everyday foot traffic. The execution pairs that cultural context with a distinctly tech-forward experience, and the result feels human, attention-grabbing, and naturally shareable beyond the space itself.
That mix of rigor and play is producing ideas that feel distinctly Japanese, whilst resonating far beyond Japan.
Google Gemini — a recent film that feels convincingly embedded in Japanese family life. Many kids here admire baseball players and dream of going pro, and instead of leading with product functions (as a lot of tech advertising still does), the story bridges the technology with that very human ambition. It’s a good example of how innovation can land emotionally, not just rationally.
Do you find clients more willing to take creative risks, and how do you get them there?
From what I’ve seen, clients today are becoming more cautious about creative risk – because in a social-first world, even a small misstep can be amplified fast and lead to backlash and real brand damage. Our role is to make bold work feel safe to back by doing the disciplined work upfront: pressure-testing ideas against brand and platform rules, cultural norms and common sense, and relevant past cases, and aligning early on what “safe” and “successful” look like.
Clients today are becoming more cautious about creative risk – because in a social-first world, even a small misstep can be amplified fast and lead to backlash and real brand damage.
And even in that climate, the communication that truly succeeds is still what people can empathise with – especially now. Rather than stating a message straight, we focus on building psychological engagement first, so the idea earns attention and trust in a way that feels human.
As a juror for the New York Festivals Advertising Awards, what will you be looking for when you review the work this year?
As a juror, I will be looking for work that is unmistakably clear in its intent and genuinely original in its execution – ideas that feel inevitable once you see them, but surprising before you do. I pay close attention to the quality of thinking: the strategic insight, the simplicity of the idea, and how every detail of craft supports it. And beyond the film or the headline, I look for proof that the work connected with people—whether that is behaviour change, earned attention, or a meaningful shift in how the brand is perceived.
I’m drawn to communication people can genuinely empathise with – work that doesn’t just communicate but connects – so it resonates and people actually believe it.
Lately, so much work is optimised for digital conversion and tends to lean heavily on functional messaging; but I’m hoping to see ideas that go beyond efficiently delivering features and benefits within a format.
Especially now, I’m drawn to communication people can genuinely empathise with – work that doesn’t just communicate but connects – so it resonates and people actually believe it.
Award shows have evolved alongside the industry. What role do you think recognition and competition still play in pushing the industry forward?
Recognition and competition still matter – but their value is highest when they reward work that genuinely moves something: culture, business, or people’s lives. Great award shows set a shared bar for craft and ambition, and they create momentum by giving teams the confidence (and permission) to push further on the next brief.
Recognition and competition still matter – but their value is highest when they reward work that genuinely moves something: culture, business, or people’s lives.
At their best, they also shape the industry’s conversation about what “good” looks like now – expanding beyond familiar formats and encouraging new ways of making ideas travel.
Are there any recent campaigns from your agency that you’re particularly proud of?
There are a few recent pieces of work I’m particularly proud of (although I wasn’t involved) – not just for the output, but for how the teams protected the core idea through to launch. In each case, we started with a single human truth, then used craft with restraint and precision so the message could travel across channels without being diluted. Where relevant, I’ve included examples below.
As mentioned in the first question, Sony’s PS5 D-OOH is one example that captures this approach.
Another piece I’m particularly fond of is a film by SECOM. It brings together Shigeo Nagashima – the legendary former Yomiuri Giants star and long-time brand ambassador, who passed away last year – and Shohei Ohtani, a modern-day MLB icon, by recreating Nagashima via CGI for an impossible face-off. Beyond the technical achievement, it carries real emotional weight: a sense of respect and quiet mourning, whilst honouring the ambassador’s long relationship with the brand.
It’s a superb piece of storytelling: by using baseball – a sport deeply loved in Japan – and bridging star players from the past and the present, it speaks across generations in a way that feels both fresh and deeply familiar.
One more: Honda’s sports car “Prelude.” The sixth-generation model marks a return after a 24-year absence – which alone created significant attention – but the film smartly pays homage to the late-1980s third-generation Prelude. It brings back the music and tagline from that era (and even features the classic car on screen), whilst showcasing the new model’s performance through Honda’s latest hybrid technology.
Like the SECOM film, it’s a strong example of how you can hold tradition and modernity in the same frame – achieving something emotionally resonant within just 30 seconds.
What piece of work — from any agency, any era — has stayed with you and continues to shape how you think about creativity?
The work that stays with me is the kind that quietly resets your sense of what’s possible—where insight, bravery, and craft lock together with no wasted motion. It’s a reminder that creativity isn’t decoration; it’s a way of making something easier to understand, harder to ignore, and more meaningful to people.
This Cannes-awarded project is a great example of technology and creativity coming together to prove that “impossible” is often just a starting point.
This is another piece I return to often—elegant, precise, and full of the optimism that defined Japan’s manufacturing momentum in the 1980s:
I first saw these films when I was very young, and even now I’d still count them amongst the best pieces of work I’ve ever watched.
Coca-Cola’s 1980s work also resonated with Japanese sensibilities at the time—it built a genuine emotional bond within everyday culture, and I still love it:
In 2023, McDonald’s echoed that same 1980s Coca-Cola tone and manner for a Big Mac film – a nice reminder that truly strong creative ideas can live on and be reinterpreted:
Quick Hits
A useful app or tool you’ve started using recently:
Not really. Please tell me if you have anything recommended!
Book, podcast, or resource you recommend:
Adam Grant’s Give and Take.
Something you want to learn or get better at:
I’d like to get better at using AI more effectively – especially in a way that improves judgement and craft, not just speed.
This was done in collaboration with NY Festivals. To learn more about the New York Festival Advertising Awards, visit here.
