About the visuals that Sosuke Ikematsu and Comai dance
――What kind of thoughts did you put in the copy that "new days begin"?
Sennai: It is a time when words that are not well understood, such as "a new lifestyle", are often heard from above, but instead, I expressed my intention that "new days" are something that we make ourselves. I wanted to do. It is not a new PARCO suitable for a new lifestyle, but rather a message that “we PARCO thinks about new things that we think about together with you.” The question is that social distance and the use of online are not the only way of newness, but there should be more, so let's think together.
―In addition, this advertisement was designed by Sachiko Ito (with Eiko Ishioka for the advertising visual for 1973 when Shibuya PARCO opened)
Sennai: I think Mr. Ito is also special for Mr. Parco. This time, I asked Mr. Ito to show the visual of the "egg" created by Kosugi-kun, and then ask him to make the art completely without restrictions. I'm asking you to design two figures born from that "egg".
Kosugi: I don't eat Mr. Ikematsu and Mr. Komai, but I think it was an exquisite balance costume that never loses to the presence of the two. It was a mysterious costume that felt that it was completed for the first time when it was incorporated into photos and videos than the real thing. In addition, the blue used in the "egg" visual before the costume was made was more lush, but Ikematsu's costume that Ito made was slightly yellowish. For me, the color is very impressive. Colors that cannot be said in a word are not very suitable for today's era, but there was freshness that I had never seen before. The freshness was the starting point, and the visual of the "egg" was corrected.……I felt that this flow would lead to newness.
Sennai: When directing photos and videos, I always think about how the performers can create a place to live, but Mr. Ito's costume also became the starting point in that sense. When art director Tsuguya Inoue shot a musician, he made a white slope and just stood there. Then the musician seems to fall on a steep slope, so something starts there, such as natural movements, facial expressions, etc. I think the same thing happened at the shooting site this time. The two, dressed in strange costumes that I had never seen, gradually became no longer the usual two. It was so big that it turned out to be the switch, and in the end, I brought out the appearance of the famous actor Sosuke Ikematsu dancing. I think there was a magic that could do that in that costume.
――What did you feel when you saw the finished advertising visuals come out into the world?
Kosugi: There were starting points in various places, and the process of establishing itself in visuals and video while repeating transmission and feedback was very exciting and fun. As I personally become more involved in a team unit in the future, I wanted to meet people with individuality and be able to work together.
Sennai: "Parco- Fashionable, cutting-edge." I think that kind of image, of course, must be cherished. However, from this advertising visual, not only the strong feelings of Mr. Ikematsu and Mr. Komeai, but also the thoughts of the world of the coronavirus pandemic that everyone feels, are exuded, and I think it was a very human-smelling advertisement not just for taste. I felt it in the visual of "eggs" where no people were seen, but it was a parco but it was somewhat muddy. But I think it's very important now.
