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Why YBA Matters Now: The Punk Spirit that Reclaimed London and the Reality of Creating in 2026

Mizuki — Thu, 26 Feb 2026 11:38:16 +0000

This month, a major exhibition of the YBA (Young British Artists) opened at the National Art Center, Tokyo.

https://www.ybabeyond.jp/en/

For those unfamiliar, YBA refers to a group of young artists who shook up the London art scene, primarily during the 1990s.

Currently, we are seeing a global resurgence of interest in the YBA era. A prime example is the Centre Pompidou in Paris, which recently began a massive multi-year renovation. For their final grand exhibition before closing, they chose Wolfgang Tillmans—a key figure associated with the YBA generation—drawing massive crowds.

So, why the YBA, and why now? And what has become of the London art scene since their departure? In this post, I want to explore their roots and the reality of being an artist in London today.

Punk Spirit Born from the “Rock Bottom”

To understand why the YBA emerged, you have to look at the UK economy of the time.

In the late 80s and early 90s, London was in the midst of a stagnant economy. For young artists, the chance of being represented by an established gallery was practically zero. It was against this bleak backdrop in 1988 that Damien Hirst, then a student at Goldsmiths, University of London, decided: “If no one will show us, we’ll do it ourselves.”

Driven by a raw punk spirit, he rented out a derelict warehouse in the London Docklands to host the “Freeze” exhibition. This legendary show became the definitive starting point for everything that followed.

https://entergallery.com/blogs/news/celebrating-the-legacy-of-freeze-exhibition?srsltid=AfmBOopbdI1s26-HPOksrmu4Iwk7YGnBxEOh-0CH4ZK9kXBm07q2SUe-

Goldsmiths College played a massive role in the YBA culture. Unlike other prestigious art schools in London (like the RCA or UAL), Goldsmiths offered a boundary-breaking, interdisciplinary education. This freedom allowed for the birth of works that defied tradition—like Hirst’s shark preserved in formaldehyde or Tracey Emin’s notorious “My Bed.”

What truly set these artists apart was that they weren’t just creators; they possessed a fierce entrepreneurial spirit. They weren’t content with staying in a small, insular community. They actively invited heavyweights like Charles Saatchi (who ran the Saatchi Gallery in central London) to their DIY shows, essentially forcing their way into the mainstream art world.

https://en.wikipedia.org/wiki/Saatchi_Gallery

This attitude—breaking through or simply ignoring the stagnation of the times—resonates deeply with the sense of closure many feel in today’s society. Perhaps that’s why their rebellious energy feels so relevant and necessary in Japan right now.

The Double-Edged Sword of Gentrification

However, if you look at London today, the environment for artists has changed beyond recognition.

The East London that served as the YBA’s playground was “poor, dirty, and dangerous.” But that was exactly why artists could rent vast, abandoned factories and warehouses as studios for next to nothing. Areas like Shoreditch and Hoxton were hubs of chaotic energy, where art and illegal warehouse parties blurred together under loose regulations.

Today, East London is a different world. Gentrification has swept through, transforming those gritty warehouses into luxury apartments and tech offices. If you wanted to live alone there now, your monthly rent would likely exceed £2,600 (approx. 500,000 JPY).

Shoreditch is now a “polished creative district” lined with high-end shops like Aesop and Le Labo, catering to tourists and the wealthy. (I’m not hating those brands—they’re just a perfect symbol of the shift.)

Much like Brooklyn in New York, a familiar pattern has emerged: artists make an area “cool,” property values skyrocket, and ironically, the artists themselves can no longer afford to live there.

To make matters worse, government cuts to higher education have sent tuition fees soaring. For international students, fees are now double what UK residents pay. Between education costs and the astronomical cost of living, the barrier to entry for an artist in London has never been higher.

Where are the Artists Now?

Despite the struggle, artists continue to survive by migrating further out. Here are the four main hubs today:

Hackney Wick:

East of Shoreditch. Though a wave of development is hitting and new buildings are popping up, many “artist studios” (large partitioned buildings) still remain. It’s a 20-minute walk from the new V&A East, so expect more changes soon.

Deptford & New Cross:

South East London. As the home of Goldsmiths, this area remains vibrant and packed with students and young creatives.

Walthamstow:

North East London. Rent is still relatively affordable here, and its proximity to East London makes it popular for those seeking sustainable studio spaces.

Peckham:

The heart of South London. Historically a thriving African community, it’s now one of the most energetic art scenes, thanks to its proximity to UAL’s Camberwell campus, filled with galleries and rooftop bars.

I currently rent a space at ASC Studios in South London. Because London flats are tiny and expensive, most artists rent separate studios and often share them with friends. My shared space (about 16 sqm) costs me roughly £150 a month.

These communities are vital. They host open calls and “Open Studio” events where you can open your doors to the public, meet other artists, and exchange the information necessary to survive as a creative person in this city.

The “Reason to Create” Never Changes

The trajectory of London’s artists—making a neighborhood cool only to be pushed out by the resulting hype—is a testament to the ironic relationship between art and urban development. The chaotic East London of the 90s is gone, but that spirit hasn’t vanished; it has simply evolved and moved South and further East.

The YBA’s ability to turn economic stagnation into raw energy offers us a “breakthrough” mindset that we sorely need today.

They proved that true value often exists outside the established system. Just as the YBAs redefined the world from a derelict warehouse, the fundamental “reason to create” remains unchanged. No matter how polished or expensive the city becomes, new expressions will continue to be born in the corners of Hackney Wick and Peckham.

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Why is Japan a “Character Superpower”?

Mizuki — Tue, 24 Feb 2026 13:31:40 +0000

Most people are familiar with Japanese icons like Pokémon, Mario, and Hello Kitty. But if you actually visit Japan and take a stroll through its streets, you’ll encounter characters you’ve never seen before in the most unexpected places—from bank counters and construction site signs to police stations and local government offices.

For instance, the police have “Peepo-kun,” and various municipalities have mascots like “Kumamon” or “Chi-ba kun.” In Japan, it’s perfectly normal for official and public spaces to have their own cute mascots. But why has the culture of creating world-conquering characters taken such deep root here? The answer lies hidden in Japan’s history and spiritual DNA.

Peepo-kun

Kumamon

Chi-ba kun

“Eight Million Gods” and Modern-Day Mascots

One major factor behind Japan’s character boom is its religious background. In Japan’s indigenous religion, Shinto, there is the concept of Yaoyorozu no Kami—the belief that “eight million gods” (or spirits) inhabit everything. There’s even the idea of Tsukumogami, where old tools eventually acquire a soul and come to life. This spiritual mindset leads directly to today’s “Yuru-chara” (laid-back mascots).

Tsukumogami,

Tsukumogami

Take “Hikonyan,” a mashup of a samurai helmet and a cat, or “Funassyi,” the hyperactive pear fairy of Funabashi City. Giving a personality to a building or a piece of fruit might seem quirky, but to the Japanese, it’s essentially the modern-day version of personifying spirits and folklore monsters.

Hikonyan

Funassyi

The Roots: Yokai and Ukiyo-e

The Japanese love for characters actually dates back to the “Yokai” (monsters/spirits) and Ukiyo-e prints of the Edo period. Back then, people gave shape to the threats of nature or the mysteries of daily life by imagining them as Yokai. These creatures weren’t just scary; they were often drawn with a sense of humor and charm, making them Japan’s original “characters.”

Ukiyo-e masters like Katsushika Hokusai and Utagawa Kuniyoshi entertained the public by drawing anthropomorphic animals and bizarre monsters. Centuries ago, Japanese people had already built a culture of enjoying these “character-like entities” as both entertainment and relatable icons.

Yokai

The Strength of “Symbolism” and “Empty Space”

Japan’s legendary characters share a unique strength. Take Hello Kitty, for example. The fact that she has no mouth is an intentional use of “empty space”—it allows the observer to project their own emotions onto her. When you’re sad, she looks sad; when you’re happy, she seems to be smiling with you.

The same applies to Mario and Pikachu. Much like how Ukiyo-e used a few simple lines to capture a subject’s essence, the art of “symbolism” makes these characters instantly recognizable worldwide. Even Doraemon, an “underdog” robot who isn’t perfect but always tries his best, taps into a universal sense of relatability.

From “Familiarity” to “Deep Empathy”

Lately, characters have moved beyond being just “cute” or “aspirational” to becoming voices for the struggles of modern life. The current sensation in Japan, “Chiikawa,” follows tiny creatures who work hard labor and tremble in the face of an unfair reality, yet keep pushing forward. By wrapping the grit of daily life in a “Kawaii” exterior, these characters earn deep empathy from adults who feel, “That’s exactly how I feel.”

The “Heisei Girl” Revival

While new characters are born every day, Japan also loves a good comeback. Currently, the “Heisei Girl” (Heisei Jyoji) trend is taking over. This refers to the girls who grew up during the Heisei era (1989–2019). Think of it as the Japanese version of the Y2K aesthetic.

Millennials are feeling nostalgic, Gen Z thinks it’s “retro-cute,” and together they are driving a massive boom in stickers and stationery. Much like Pokémon cards, stickers of these era-defining characters are being traded among fans.

San-X Characters:

Characters like Kogepan,Tarepanda—which every student in the 90s and 2000s knew—are back in a big way through collabs and Gachapon.

Narumiya Brands:

Pop-fashion brands like Angel Blue and Mezzo Piano were status symbols back in the day (with T-shirts costing over $100!). Their bright, “gap-moe” cuteness is being rediscovered by a new generation.

Tamagotchi:

It’s evolved to have color screens and wireless communication, but the fact that it’s a physical device rather than a phone app gives it a special “object value” that feels fresh again.

Retro Sanrio:

It’s not just Kitty anymore. Characters like Keroppi, Hangyodon, and Pochacco are seeing a huge surge in popularity with retro-style merchandise.

In Japan, characters aren’t just “drawings.” They are born from a deep cultural and religious well and evolve alongside the people.

From the Yokai of the Edo period to the Pokémon of the Heisei era and the Chiikawa of today, characters are essential partners. Like the “eight million gods,” they live alongside us, share our daily struggles, and serve as a universal language across generations. This deep, personal bond is the true secret behind why Japan remains the ultimate “Character Superpower.”

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Inside “gene.hackerman”: Exploring Tokyo’s Real Culture Through The Weeknd’s Secret Sub-Account

Mizuki — Fri, 20 Feb 2026 13:08:21 +0000

The rumors are true: The Weeknd has been spending a solid two months in Japan, spanning from December 2025 through January 2026.

While his main Instagram only follows one mysterious account, what started as a feed of cryptic Japanese landscapes was recently confirmed to be his personal sub-account when photos of Abel himself finally appeared. But he’s not just doing the “tourist thing.” His feed, @gene.hackerman, is a deep dive into the daily life and gritty subcultures of Japan, showing a side of the country that feels authentic and lived-in.

In this post, we’re digging into the posts from @gene.hackerman to see what’s actually trending in Japanese culture right now.

https://www.instagram.com/gene.hackerman/?hl=en

Reuniting with a Legend: Hajime Sorayama

You can’t talk about this trip without mentioning Hajime Sorayama. From the very first post, Abel has been showcasing his connection to the artist and the legendary NANZUKA gallery.

Founded in Shibuya in 2005, NANZUKA is an experimental space where pop culture meets contemporary art.

https://nanzuka.com/en

It’s the home of pioneers like Sorayama and the late great Keiichi Tanaami.

The bond between Abel and Sorayama goes way back—they collaborated for the 10th anniversary of Echoes of Silence in 2021, and Sorayama’s 7-meter “Sexy Robot” was the rotating centerpiece of the After Hours Til Dawn Tour.

In his latest posts, Abel shared videos from inside Sorayama’s studio, catching the master at work. Fans are already buzzing—is another collaboration on the horizon?

The New Frontiers of Theme Parks

Next up: the obsession with Japan’s IP powerhouses. Abel was one of the first to hit up PokePark Kanto, the brand-new Pokemon theme park that just opened in Tokyo.

https://www.pokepark-kanto.co.jp/ppark/top/index

Located on the site of the old Yomiuri Land, it’s the world’s first park of its kind, where you can find Pokemon figures hidden throughout the nature-rich grounds. He also made a stop at Super Nintendo World at USJ. Seeing a global star embrace these spots highlights just how much Japan’s character industry is dominating the world right now.

From Cult Classics to Modern Masterpieces

Japan is a haven for high-end anime exhibitions, and Abel’s choices were top-tier:

Evangelion:

He caught the 30th-anniversary exhibition, filled with original cells and massive figures.

Ghost in the Shell:

Not only did he visit the exhibition at TOKYO NODE, https://www.tokyonode.jp/sp/exhibition-ghostintheshell/

but he also dropped by Kodansha (the publisher) to see ultra-rare original manuscripts up close.

- - Look Back:

This one was a surprise. He visited the exhibition for Tatsuki Fujimoto’s Look Back and even got an autograph from the anime director, Kiyotaka Oshiyama.

For those who don’t know, a live-action version is currently in the works, directed by none other than Hirokazu Kore-eda (who won the Palme d’Or in 2028).

Gaming Icons and Retro Digging

Abel also went on a “holy land” pilgrimage to gaming giants like SEGA and CAPCOM, meeting the legendary designers behind the games we grew up on.

He posted shots of himself buying vintage Famicoms and Game Boys. In Japan, these might just be “used items” in a second-hand shop, but through his lens, they are redefined as powerful icons of nostalgia.

Connecting with the Music Scene

The trip wasn’t complete without some heavy-hitting musical meetups. He hung out with Kenshi Yonezu, the J-pop titan who previously collaborated with him and recently sang the theme for Ghibli’s The Boy and the Heron.

He also met with Creepy Nuts, the hip-hop duo taking the world by storm. Their tracks became massive hits in 2024, proving once again that in Japan, an anime tie-in is the ultimate launchpad to superstardom.

Finally, he paid homage to the late Nujabes.

Even 15 years after his passing, Nujabes remains a king of the “Lo-fi” sound. Abel was seen hanging with the creator of Samurai Champloo (the anime that made Nujabes famous) and buying stacks of Nujabes vinyl.

The “Chiikawa” Plot Twist

To wrap things up, we have to talk about Chiikawa. This small, “cute but stressful” character is a massive phenomenon in Japan right now. Even BLACKPINK’s Jennie is a fan, and Abel joined the club by posting a photo of himself wearing a Chiikawa hat.

Seeing one of the biggest artists on the planet fully vibing with Japan’s “Kawaii” culture is the wholesome content we didn’t know we needed.

If you’re planning a trip to Japan soon, @gene.hackerman just gave you the ultimate itinerary.

The post Inside “gene.hackerman”: Exploring Tokyo’s Real Culture Through The Weeknd’s Secret Sub-Account appeared first on Ground Control Studios.

“Discovery Feature Funding” supported by BFI and The National Lottery

Rina — Thu, 19 Feb 2026 16:19:16 +0000

Like “Urchin” and “Pillion” last year, or we could also mention “Aftersun”, as these two films haven’t yet been released in Japan. These films share something in common – They received funding from BFI and The National Lottery.

I could go on endlessly if someone asked me how great BFI is, but what I’d like is to introduce Japanese audiences to a funding program called “Discovery Feature Funding”, supported by BFI and The National Lottery. The fund is designed to support debut feature films.

https://www.bfi.org.uk/get-funding-support/create-films-tv-or-new-formats-storytelling/bfi-filmmaking-fund-discovery-impact-feature-funding#:~:text=Discovery%20feature%20funding%20provides%20awards,weeks%20after%20the%20closing%20date.

If you google where the national lottery money goes, the information as below is easy to find. Japanese also have a major lottery system, but revenue is sometimes used to support disaster recovery efforts.

https://www.national-lottery.co.uk/life-changing/where-the-money-goes

Financial support is only one part of the process. Casting and distribution are equally important, and BFI helps bridge filmmakers and distributors through networking opportunities. As a film lover, I am constantly discovering new talents every year.

Some may question why a government or a country would invest in younger generations, but the importance of national support becomes clear when we look at major international awards such as the Academy Awards, the Emmy Awards, and the Grammy Awards. National identity and cultural representation play a significant role on the global stage.

This is especially true for the Best International Feature Film category at the Oscars, where a country’s selection carries great weight worldwide. Today, non-English-language films are often nominated–and even win– in the main categories, but the Oscars were originally positioned as a celebration of American cinema. Because of this, every country carefully strategizes every year which film to submit, and how it might progress from the shortlist to a nomination, and ultimately to a win.
France is often celebrated at Cannes winning the Palme d’Or. However, when it comes to the Best International Feature Film Category at the Oscars, its record is surprisingly modest.

In the 2020s it has received only one nomination, “Emilia Pérez” by Jacques Audiard, and in the 2010s only two nominations— “Les Misérables” Ly and “Mustang” by Deniz Gamze Ergüven. Its last win dates back to 1992(!) with Indochine by Régis Wargnier. Then this year, they chose “It Was Just an Accident” as France’s submission. Since Jafar Panahi is banned by the Iranian government from filmmaking, the film could not realistically be submitted as Iran’s official entry and was instead put forward by its co-producting country, France. For France as well, the film represents a long-awaited opportunity to win in this category.

In Japan, there are some funding systems, but they tend to focus more on international co-productions. There is generally a lower tolerance for risk, which makes it more difficult to support original scripts and to bring new talent into the spotlight. Building effective funding structures takes time, but I hope Japan will begin to view cultural funding in a similar way to the UK in the near future.

All of this information has been strongly informed by reporting from Screen International.

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What’s trending in Japan NOW?! 〜Sticker Trading〜

Rina — Thu, 19 Feb 2026 16:02:35 +0000

What’s trending in Japan NOW?! 〜Sticker Trading〜

If you ask someone the question above, people would answer…..Sticker Trading.

Yes. I feel you. There are still many parts of Japanese culture that feel mysterious to Londoners. But if you are here, you’ll catch a glimpse of Japan’s uniquely enigmatic culture. Lucky you!

Watch this youtube.

The video above shows well-known celebrities doing nothing more than trading stickers. People enjoy collecting tiny “kawaii” stickers as much as possible.The most important thing of Sticker Trading is to give the others compliments. Rather than putting anything down, people focus on praising how cute they are, or how rare they might be. The keyword here is simple — “kawaii.”

Nowadays, people of all ages – from children to grandparents – seem to carry their own sticker albums. You can find tiny stickers that are carefully collected and displayed inside their albums. As you can probably tell, there is absolutely no practical use for them.

Yet some of the most popular stickers sell out instantly and are almost impossible to find in stores.

You can trade your sticker for your friend’s – but not without negotiation. Not every sticker is up for grabs. You need to figure out which one feels equal in value, talk it through, and once both sides agree, the trade is sealed. Rare stickers, larger ones, or those featuring popular characters are much harder to part with. These are often described as having a “high rate,” a way of signalling their higher value. In character-obsessed Japan, just about anything can become a sticker.

The most compelling aspect of this trend is its universality.

Across generations and positions— parents and children, grandparents and grandchildren, CEOs and their staff — everyone participates in the same way. It reflects a distinctly Japanese sensibility: the idea that loving cute things is not something to outgrow, but something shared by all.

The recent resurgence of stickers, reminiscent of the late 1990s and early 2000s, is particularly telling. Both younger generations and those now in their thirties—who grew up with these objects and now have spending power—are drawn to 90s and 2000s culture, from Tamagotchi to collectible stickers.

I may be repeating myself, but stickers serve no practical purpose. In an age when almost everything can be done without seeing or interacting with others, sticker trading requires communication. It asks people to meet, to talk, and to see and touch the stickers themselves.

This physical and social exchange is a key reason why sticker trading continues to captivate people.

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The Evolution of the V&A: From South Kensington to the New V&A East in Stratford

Mizuki — Thu, 19 Feb 2026 15:28:27 +0000

London is home to numerous museums, but among them, the V&A (Victoria and Albert Museum) stands out as truly unique.

While there are several V&A-operated sites across the UK, the most famous is undoubtedly the main museum in South Kensington. Its vast collection, gathered from all over the world, is packed so densely that it would be impossible to see everything even if you spent an entire day there.

The name “V&A” comes from the initials of Queen Victoria and her husband, Prince Albert, who defined the golden age of 19th-century Britain. Originally, it was established as a royal museum funded by the profits of the world’s first Great Exhibition (the 1851 Great Exhibition of the Works of Industry of All Nations).

Commonly, the term “museum” or “art gallery” evokes images of a quiet place to gaze at ancient paintings and sculptures. However, the V&A is positioned as one of the world’s largest hubs for “Art and Design” (the decorative arts). Rather than focusing on “Fine Art” (such as paintings), the collection is curated through the lens of how humans create the objects used in daily life to be both beautiful and functional.

This approach stems from a pressing concern in Britain at the time of its founding. While the Industrial Revolution had drastically improved manufacturing technology, British products of that era faced a major issue: “They were, frankly, quite ugly.”

In response, Prince Albert had an idea:

“Let’s line up the world’s finest craftsmanship and show it to British artisans and designers. That way, they’ll learn how to create better products!”

In other words, the V&A began its life as an educational institution intended to train designers.

As a result, it feels quite different from the British Museum, where you might find masterpieces of religious painting. For example, if you peek into the Japan gallery, you’ll find samurai armor displayed right alongside Hello Kitty and nostalgic flip-phones—a uniquely V&A spectacle.

Popular mobile phones used in Japan before smartphones were released

While established with these roots, the V&A has recently been opening new sites all across London.

For instance, there is “Young V&A” in Bethnal Green, East London. This building was constructed using parts of the temporary iron structure from the 1851 Great Exhibition in South Kensington (nicknamed the “Brompton Boilers”), which was moved and opened in 1872 as the Bethnal Green Museum.

After World War I, the museum began displaying items related to childhood. In the 1920s, curator Arthur Sabin established a dedicated children’s section, which significantly expanded the museum’s scope. In 1974, it was officially named the “V&A Museum of Childhood,” becoming a national museum focused on the history of childhood.

Following a three-year renovation, it reopened in 2023 as “Young V&A.” This rebranding marked a shift from simply being a place that displays the history of childhood to becoming a practical space for “play, creativity, and design” specifically for children. It’s still fresh in memory that in 2023, they held the Japan: Myths to Manga exhibition, featuring everything from Japanese manga and yōkai to Studio Ghibli and Hello Kitty.

Young V&A

1925 Japanese Board game

What the catfish symbolizes in Japan

Furthermore, the “V&A East Storehouse,” which opened in 2025 at Queen Elizabeth Olympic Park in East London, is a truly groundbreaking museum.

This is a “visible storehouse” that allows anyone to see the V&A’s massive collection of over 250,000 objects—most of which were previously closed to the public—up close. It’s a place where you can experience the “backstage” of a museum, almost like a theme park, where you can freely browse works on giant shelves or observe researchers as they handle and conserve the objects.

V&A storehouse

When I visited the Venice Architecture Biennale last summer, I saw an exhibit about this museum and found it incredibly fascinating.

Venice Biennale of Architecture ON STORAGE exhibition

Typically, museum warehouses are closed-off spaces. However, as you can see from the concept diagrams, this project aims for extreme openness. I was amazed at how they successfully balanced the “functionality” of storing works with the “imbalance” of having an unspecified number of visitors roaming through.

Moreover, you can see the works from an incredibly close distance. Honestly, it’s so close that I found myself worrying whether it was actually okay in terms of security and preservation. This site also houses the paid “David Bowie Centre.”

And this year, in May 2026, another V&A site is set to open just a 10-minute walk from the Storehouse. This one will be a more traditional museum focused on “exhibitions” and is scheduled to open in April 2026. I hear there will also be workshops involving local youth, creators, and residents of East London.

By the way, many of the artists featured in the “YBA & BEYOND” exhibition currently being held at the National Art Center, Tokyo, were also based in this East London area during the 90s.

This district, known as Stratford, is a major redevelopment area. Its roots go back to “East Bank,” a redevelopment plan following the 2012 London Olympics. Part of a £1.1 billion cultural investment project by the Mayor of London, it aims to transform a former industrial zone into a new hub for culture and education. It has already become a massive cultural district, housing the BBC music studios, Sadler’s Wells Theatre, London College of Fashion (LCF), and the new campus of UCL (University College London).

To be honest, today’s East London is less of the “artist’s town” it once was; gentrification has driven up property values, making it difficult for artists to live there easily (I’ll save that for another article). Nevertheless, there is no doubt that East London will continue to undergo even more dramatic changes from here on out.

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Performing Arts in the UK: Differences from Japan

admin — Wed, 18 Feb 2026 16:11:52 +0000

When people think of the UK, many associate it with the arts, especially performing arts such as theatre, musicals, ballet, and opera. For many tourists visiting London, going to see a West End musical is a must, and it certainly feels like a very common part of the sightseeing experience.

So for this time, I would like to introduce and compare the state of the performing arts in the UK and Japan.

Compared to the UK, going to a stage performance in Japan often feels like a very special occasion. Many productions have short runs, ticket prices are high, and tickets frequently sell out, making it difficult to attend even if you want to.

In contrast, particularly in London, many productions run for long periods, and there is always some kind of musical or play performing every day. Ticket prices vary depending on seating, but it is possible to see a show for about £25, and there is also a wide availability of same-day tickets. It is common to casually say, ’Are you free today? Shall we go see that musical?’ and decide plans on the spot. Compared to Japan, theatre in the UK feels much more accessible and embedded in everyday life.

As someone who did ballet, I have also noticed significant differences between Japan and the UK when it comes to the internal realities of ballet companies. In Japan, many ballet companies rely on subsidies and donations, and dancers are often paid per performance rather than receiving a fixed salary. In some cases, dancers are even required to pay company fees, similar to monthly membership dues. As a result, many dancers need part-time jobs to support themselves, and ballet companies often operate under financially difficult conditions.

Pointe shoes, which are essential for ballerinas, cost around £70 per pair, yet in many Japanese companies they are not provided and must be paid for out of pocket. Since a pair of pointe shoes may last only a month, or sometimes wear out in just a few days, this can mean spending around £700 per month solely on pointe shoes. Japan’s only national ballet company, the National Ballet of Japan at the New National Theatre, reportedly provides proper salaries and supplies pointe shoes. However, the number of performances is relatively limited (for example, 18 performances of The Nutcracker in the 2025/2026 season). As a result, unless a dancer reaches a principal level, the reality is that making a stable living within a Japanese ballet company remains very difficult.

In contrast, most ballet companies in the UK operate on a salaried system, and there are five national ballet companies. The number of performances is also significantly higher (for example, 32 performances of The Nutcracker by The Royal Ballet in the 2025/2026 season). Pointe shoes are, of course, provided, and each dancer is given their own dedicated pointe shoe storage. If necessary, shoes can even be custom-made. In addition, expenses related to training, medical treatment, maintenance, and rehabilitation are also covered. Compared to Japan, it is very clear that ballet dancers in the UK are able to maintain a far more stable standard of living.

(https://www.worldofinteriors.com/story/pointe-shoe-craft-room-royal-ballet-opera-london )

When comparing the two, it becomes clear that in the UK, the performing arts are explicitly positioned as part of cultural policy, with systems in place to fully support audiences, venues, and artists. Viewing the performing arts as ‘cultural assets that should be protected’ directly leads to long-running productions and stable employment for dancers. This perspective can be seen as a key reason why the performing arts are so highly valued in the UK.

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Media Mix Strategy in Japanese Film Industry

admin — Wed, 18 Feb 2026 15:53:00 +0000

Media mix with the idol-based star system is a significant strategy that has evolved in the Japanese film industry. Kadokawa Haruki, a Japanese entrepreneur and filmmaker, pioneered a commercial-driven approach to filmmaking by merging film, publishing, and music into a unified marketable model. He also applied an idol-driven approach, where idols were designed as transmedia commodities rather than just film stars. Kadokawa thus pioneered and introduced the media mix strategy with the idol-based star system in Japanese cinema, which moved away from traditional storytelling to marketable filmmaking, revolutionising film production and marketing in the 1970s to 1980s. These strategies remain highly influential today and have shaped the entire entertainment landscape, where cross-media expansion and idol-based branding have become the foundation of modern media industries.

Kadokawa emerged at a moment of crisis. As the traditional studio system collapsed in the 1970s, such as Daiei going bankrupt, Nikkatsu surviving through Roman Porno, Kadokawa proposed a new commercial vision. Films would be launched alongside bestselling novels, pop soundtracks, magazines, and television advertising. Each medium existed to promote the others. Cinema became the centrepiece of a larger consumer experience.

Crucially, Kadokawa understood that stars were the most powerful connectors across media. His idols, such as Hiroko Yakushimaru and Tomoyo Harada, were not just actresses but carefully managed transmedia figures. They sang theme songs, appeared in commercials, featured in photobooks, and circulated endlessly across magazines and television. Films like School in the Crosshairs (1981) Sailor Suit and Machine Gun (1981) and The Little Girl Who Conquered Time (1983) wrapped youthful idols in fantasy-driven narratives that avoided social realism in favour of escapism. These films were optimistic, glossy, and borderless introducing the idea of franchising.

Today’s Japanese entertainment industry runs almost entirely on media mix logic. Anime franchises such as Demon Slayer or Jujutsu Kaisen expand seamlessly from manga to television, cinema, games, merchandise, and theme-park collaborations. Characters function like idols: stable, recognisable, scandal-proof commercial assets. Even voice actors now perform as multi-platform celebrities, blurring the line between fictional and real stardom.

Recently, idol stars in a drama, sings its theme song, promotes it on variety television, appears on magazine covers, and sells concert tickets, all while reinforcing the group’s brand. The success of Hana Yori Dango (2005–2008) illustrates this perfectly. Adapted from a manga with an existing fanbase, the drama starred Arashi’s Jun Matsumoto and turned its theme songs into chart-topping hits. The franchise expanded across television, cinema, music, and international remakes, proving how tightly integrated stardom and storytelling had become.

Even recent projects like Grand Maison Paris (2024), starring former SMAP icon Takuya Kimura, show how the system adapts. Linked to a television series, branded as a long-term project, and promoted through collaborations with the Michelin Guide, the film demonstrates how media mix now extends into global branding and lifestyle culture.

From virtual idols to streaming-era franchises, Japan continues to refine a model where cinema is only one part of a much larger machine. Kadokawa may have started the revolution by turning films into commodities and idols into platforms. Decades later, his vision still defines how Japanese cinema is produced, marketed, and consumed, endlessly circulating worlds of images, music, and stars.

The post Media Mix Strategy in Japanese Film Industry appeared first on Ground Control Studios.

Why is Matcha Everywhere in London Now?

Mizuki — Wed, 18 Feb 2026 14:20:07 +0000

The “Green Revolution” Rewriting London’s Tea Heritage

While matcha’s global popularity is a frequent topic of conversation, its current dominance in London is truly staggering. Walking through the city’s streets, the word “Matcha” is virtually inescapable—arguably appearing more frequently here than in many parts of Japan.

London is currently in the midst of an unprecedented matcha boom. Only a few years ago, matcha was a niche product found in specialized cafes, reserved for the health-conscious or the culturally “in the know.” Fast forward to today, and it has become a staple. Even the smallest local coffee shops now feature matcha lattes as a permanent fixture on their menus.

Why has matcha taken such a firm hold in a city traditionally defined by “Black Tea”? The reason goes beyond mere taste; it lies in a fundamental shift in Londoners’ values.

1. The Wellness Wave: Seeking a “Calm Buzz”

Despite its reputation for tea, London has transformed into a high-octane coffee city, rivaling New York in its caffeine consumption—especially around the high-pressure financial hubs like Bank station. However, the recent wellness movement has led many to rethink their relationship with coffee.

People are increasingly looking to avoid the “caffeine crash” and the jitters associated with espresso. Matcha contains L-theanine, an amino acid that slows caffeine absorption, providing a “jitter-free” energy boost that keeps the mind sharp yet relaxed. For City professionals and creatives alike, matcha has become the ultimate “performance-enhancing beverage.”

2. An Evolution of the “Milk Tea” Tradition

For the British, a warm cup of tea with milk is more than a drink; it’s a cultural ritual. Matcha lattes haven’t been rejected as a “strange foreign import” because they are perceived as the evolution of the classic milk tea—just healthier and more luxurious.

The synergy between matcha and alternative milks has been a game-changer, particularly in vegan-friendly London. The combination of oat milk and matcha offers a creamy, satisfying texture that far surpasses a standard cup of breakfast tea. It provides a sense of “indulgent health,” allowing drinkers to enjoy a treat while fueling their bodies with antioxidants.

3. Visual Identity in the SNS Era

In London’s competitive cafe scene, matcha’s vibrant green is a powerful aesthetic tool. Brands like Blank Street Coffee acted as catalysts, sparking viral trends with layered drinks like blueberry or mango matcha.

Local favorites like Jenki have successfully repositioned matcha as a pop-culture icon. Their logo—a stylized, lightning-bolt-like interpretation of the shape of Kyoto—reflects their modern, energetic approach.

Whereas traditional tea was often a private, domestic ritual, matcha is a public-facing fashion statement. Holding a matcha cup signals that the drinker is attuned to health, culture, and quality. It has become a form of “self-branding” for the modern Londoner.

The New Ritual: Craftsmanship Meets Tradition

Matcha is now treated with the reverence of a modern ceremony. Many cafes have moved away from simply stirring powder into milk, opting instead for the traditional Chasen (bamboo whisk). This performative element of whisking matcha to order honors the craft and adds a layer of authenticity that resonates with discerning customers.

Authentic Japanese presence is also strong, with establishments like the Japanese-run Matchado and the historic Kyoto-based Tsujiri drawing constant crowds.

Is Hojicha the Next Wave?

While matcha reigns supreme, Hojicha (roasted green tea) is beginning to capture the spotlight. With its lower caffeine content and a smoky, nutty aroma that appeals to coffee lovers, it is quickly becoming the go-to “afternoon drink.”

It is likely only a matter of time before “Hojicha Latte” becomes as ubiquitous as its green counterpart. We may be looking at the second wave of the Japanese tea revolution in London.

The post Why is Matcha Everywhere in London Now? appeared first on Ground Control Studios.

How has Japanese Cinema Been Reaching UK/Global Audiences? Looking from Late 20th Century ~

admin — Fri, 19 Dec 2025 16:52:38 +0000

Japanese cinema is known for its incredible variety of styles, genres, and cultural influences, and over time it has gained increasing recognition around the world through distribution. In the UK in particular, the way Japanese films have been distributed has played a key role in shaping how they are viewed and appreciated, especially for their bold creativity and distinctive genres.

For a long time, access to Japanese cinema, especially live-action films, were fairly limited in the UK. This began to change in the late 20th century, when cult and genre titles started circulating through VHS and DVD. Distributors such as Tartan Films were especially influential during this period, introducing UK audiences to Japanese cinema through physical media.

Tartan’s Asia Extreme label became particularly well known, bringing films like Ring (1998, Hideo Nakata), Audition (1999, Takashi Miike), and Battle Royale (2000, Kinji Fukasaku) to British audiences.

These releases helped establish a strong, but sometimes narrow image of Japanese cinema as intense, shocking, and experimental. Although the label helped introduce British audiences to Japanese films that they might otherwise never have had the chance to see, it encouraged an image of Japanese films as strange or exotic, rather than reflecting the full range of styles and stories being produced. Some critics have pointed out that this approach reinforced a narrow view of Japanese cinema, linking it to ideas of Orientalism, where Eastern cultures are often presented through stereotypes shaped by Western perspectives.

More recently, distribution efforts have taken a broader approach. Initiatives such as the Japan Foundation Touring Film Programme (https://www.jpf-film.org.uk/about) from Japan Foundation in the UK aim to expand audiences’ understanding of Japanese cinema by showcasing a wider mix of contemporary and classic films across different genres. At the same time, streaming platforms have made Japanese films or drama series easier to access than ever before, allowing them to reach global audiences instantly.

However, challenges still remain, especially when looking at live-action streaming series. One of the recent examples is Shogun (2024, Rachel Kondo and Justin Marks), an FX and Hulu co-production that received major international recognition, including the Primetime Emmy Award for Outstanding Drama Series and multiple Golden Globe Awards.This drama was created by American filmmakers, but became one of the successful Japanese-language series to gain popularity across the world. On Netflix, series such as Alice in Borderland (2020–, Shinsuke Sato) and House of Ninjas (2024, Dave Boyle) also gained significant attention, as well as Last Samurai Standing (2025, Michihito Fujii) became a major hit this year.

While these dramas are well made and widely praised internationally, there seems to be a similarity to Tartan’s Asia Extreme approach in the late 20th century. Many of these streaming series frame Japanese culture in ways that feel designed for Western audiences, often drawing on familiar themes such as samurai nostalgia, historical mythology, and cult or extreme elements. Although a wide range of Japanese dramas across many genres is now available on global streaming platforms, this kind of orientalist framing continues to be especially “marketable” internationally. This remains an ongoing challenge for Japanese cinema and drama to achieve broader and more balanced recognition within the global cultural landscape

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