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Japan Imperial Household Agency's Instagram followers hit 2 mil.; more young viewers sought

Japan Imperial Household Agency's Instagram followers hit 2 mil.; more young viewers sought

The Mainichi16 hours ago
TOKYO -- The official Instagram account of the Imperial Household Agency reached 2 million followers on the morning of July 3, with public interest remaining high more than a year after its launch in April 2024.
However, growth among younger followers has been sluggish. The agency stated, "We want to keep trying different approaches to find what resonates with the younger generation."
The Instagram account was launched to raise awareness about the activities of Emperor Naruhito and Empress Masako. Initially, there was a time lag between their activities and posts, but now the agency aims to be timelier and is posting like a news flash.
While private moments, such as off-duty photos of bamboo shoot digging, tend to receive more "likes," when looking at the number of views on "reels" (short videos), it appears that official activities are also drawing attention.
As of the account's first anniversary, the most-viewed reel was footage of the Imperial Couple watching a volleyball match with Japan Volleyball Association President Shunichi Kawai at the Japan Games in Saga Prefecture, with about 5.5 million views. A tea party with recipients of the Order of Culture was also popular, with about 3.3 million views. The latter event was also attended by the Imperial Couple's only daughter Princess Aiko, as well as Crown Prince Akishino (Fumihito) and his wife Crown Princess Kiko and their daughter Princess Kako.
One reason the agency began using social media for public relations was to increase interest in the Imperial Family among younger generations. At the one-year operation mark, only 16.1% of followers were in the younger age group between 13-34 years old, down from 17.3% at the six-month mark. Women accounted for 66.8% of all followers.
A senior agency official commented, "We need to consider whether the interest of those who were attracted by the novelty will continue in the future. As we enter the second year, how and what we communicate as our message is important."
For fiscal 2025, the agency allocated about 27 million yen (roughly $187,000) to enhance public relations, a significant increase from about 2.6 million yen (approx. $18,000) the previous fiscal year. The budget will be apparently used to outsource video production, seek expert advice and strengthen the agency's PR structure. The agency is also considering ways to more broadly introduce the activities of the Imperial Family branches, not just the Emperor and Empress.
The agency also has a policy of following back foreign royal families upon request, and as of the end of June, it had mutual follows with the royal families of the Netherlands (about 990,000 followers), Luxembourg (roughly 100,000), Spain (approx. 890,000), the United Kingdom (some 13.2 million) and Sweden (about 720,000).
The mutual follow with the Swedish royal family was prompted by King Carl XVI Gustaf's visit to Japan to attend Expo 2025 Osaka, Kansai in May, during which he dined with the Emperor and his family at the Imperial Palace.
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Japan Imperial Household Agency's Instagram followers hit 2 mil.; more young viewers sought
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TOKYO -- The official Instagram account of the Imperial Household Agency reached 2 million followers on the morning of July 3, with public interest remaining high more than a year after its launch in April 2024. However, growth among younger followers has been sluggish. The agency stated, "We want to keep trying different approaches to find what resonates with the younger generation." The Instagram account was launched to raise awareness about the activities of Emperor Naruhito and Empress Masako. Initially, there was a time lag between their activities and posts, but now the agency aims to be timelier and is posting like a news flash. While private moments, such as off-duty photos of bamboo shoot digging, tend to receive more "likes," when looking at the number of views on "reels" (short videos), it appears that official activities are also drawing attention. As of the account's first anniversary, the most-viewed reel was footage of the Imperial Couple watching a volleyball match with Japan Volleyball Association President Shunichi Kawai at the Japan Games in Saga Prefecture, with about 5.5 million views. A tea party with recipients of the Order of Culture was also popular, with about 3.3 million views. The latter event was also attended by the Imperial Couple's only daughter Princess Aiko, as well as Crown Prince Akishino (Fumihito) and his wife Crown Princess Kiko and their daughter Princess Kako. One reason the agency began using social media for public relations was to increase interest in the Imperial Family among younger generations. At the one-year operation mark, only 16.1% of followers were in the younger age group between 13-34 years old, down from 17.3% at the six-month mark. Women accounted for 66.8% of all followers. A senior agency official commented, "We need to consider whether the interest of those who were attracted by the novelty will continue in the future. As we enter the second year, how and what we communicate as our message is important." For fiscal 2025, the agency allocated about 27 million yen (roughly $187,000) to enhance public relations, a significant increase from about 2.6 million yen (approx. $18,000) the previous fiscal year. The budget will be apparently used to outsource video production, seek expert advice and strengthen the agency's PR structure. The agency is also considering ways to more broadly introduce the activities of the Imperial Family branches, not just the Emperor and Empress. The agency also has a policy of following back foreign royal families upon request, and as of the end of June, it had mutual follows with the royal families of the Netherlands (about 990,000 followers), Luxembourg (roughly 100,000), Spain (approx. 890,000), the United Kingdom (some 13.2 million) and Sweden (about 720,000). The mutual follow with the Swedish royal family was prompted by King Carl XVI Gustaf's visit to Japan to attend Expo 2025 Osaka, Kansai in May, during which he dined with the Emperor and his family at the Imperial Palace.

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The shōtengai (shopping streets), rows of wooden houses and the haphazardly placed potted plants in front of them, utility poles and train tracks — what he calls 'a streetscape formed of tasteful clutter' — created a dense, layered environment in which 'you can walk anywhere freely, like in a forest.' The image of a growing forest serves as both muse and leitmotif in Fujimoto's largest exhibition to date, 'The Architecture of Sou Fujimoto: Primordial Future Forest,' on view at Mori Art Museum in Minato Ward through Nov. 9. Fujimoto and the team at Mori Art Museum wanted to create an exhibition that's more than simply displaying drawings and models. | ZORIA PETKOSKA The exhibition presents a thicket of projects spanning three decades, divided into eight sections — five of which include the word 'forest.' The first, titled 'Forest of Thoughts,' features more than 1,000 architectural models, some handmade by Fujimoto himself. 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In 'Book Lounge of Awai (In-Between),' curated by book specialist Haba Yoshitaka, 40 titles that resonate with Fujimoto's work are placed in small wooden chairs that were inspired by church furniture. Visitors are invited to sit down and read if the mood strikes them. "This lounge is a space that exists between reading and not reading,' Yoshitaka writes in a statement. 'It is a space for gently rethinking the contours of the act of reading.' Placed in the only room in the exhibition with a view of Tokyo's sprawling skyline, this section is also an invitation to gaze out the window and read the very cityscape that Fujimoto likens to a forest. Architecture for humans Fujimoto's work is created with people in mind. He recalls designing his father's psychiatric clinic and discussing the needs of the patients who would use the space. His father believed that conventional hospital architecture was too uniform, failing to account for the diverse needs of individual patients. 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The 1:5 scale model of the Grand Ring at the Expo is constructed so visitors can walk through it. | ZORIA PETKOSKA In addition to more than a 1,000 architectural models, the exhibition contains two large-scale models, one of the Grand Ring for the Osaka Expo 2025 and one for a memorial and concert hall in Sendai, Miyagi Prefecture, that's currently under construction and slated to be completed in 2031. | ZORIA PETKOSKA 'The Grand Ring is big, but the pillars are open and you are free to move underneath,' Fujimoto says. The project, which has earned a Guinness World Record as the largest wooden architectural structure on Earth — offers shelter inside and a view from the top, where flowers have been planted. Freedom is a recurring element in Fujimoto's work. The Grand Ring model shows figures sitting on the ground, running around and pausing to enjoy the space. He's not trying to micromanage chaos, believing instead in 'loose order amid the confusion,' a lesson he traces back to his childhood experiences playing in the woods. In Fujimoto's philosophy, we should be able to adjust our space depending on our needs at different times. In L'Arbre Blanc (The White Tree) mixed-use residential tower, one of his biggest projects in France, he positioned balconies asymmetrically so residents could see one another, and incorporated public spaces into the building's design. For him, architecture must provide privacy and shelter, but it must also leave room for connection. 'There is something to be said about shared experiences — something essential to human society,' Fujimoto says in a video that's part of the exhibition. 'If architecture can create spaces like that, then it's doing its job.' Future cities Although 'Primordial Future Forest' surveys the architect's career to date, it doesn't dwell too much on the past. On the contrary, it looks forward, justifying the 'future forest' in its title. 'Forest of Thoughts' includes ongoing projects such as Tokyo's Torch Tower, which, upon completion in 2028, is set to become Japan's tallest skyscraper. The penultimate section, 'A Forest / Many Forests,' is dedicated to another major project currently under construction: the International Center Station Northern Area Complex in Sendai. This multipurpose complex will serve as both a memorial to the Great East Japan Earthquake of 2011 and a concert hall. The model, constructed in 1:15 scale, is lifted off the ground so it can be viewed from all sides. The seating areas are broken apart and hanging in the air, but without barriers and in the same hall, listening to the same music, which embodies Fujimoto's philosophy of coming together for a moment of connection. "Diverse and unified is the thinking of this project, too," Fujimoto says. The exhibition visualizes inspiration for design by juxtaposing the architectural models with mundane objects such as a sieve, a loofa and a stack of matchboxes or potato chips. | ZORIA PETKOSKA Architectural models are displayed in both expected and unexpected ways, with some hanging from the ceiling or stuck to the walls. | ZORIA PETKOSKA While these buildings are set for completion in the near future — the Sendai building is set to be completed in 2031 — the exhibition ventures further into speculative territory. Titled 'Forest of Future, Forest of Primordial — Resonant City 2025,' it presents a vision of a floating city composed of latticed spheres. Developed in collaboration with Hiroaki Miyata, data scientist and university professor, the model imagines a world of personal drones that would eliminate the need for elevators and stairs. To produce the intricate 3D-printed model, Kondo says the team needed to purchase 20 3D printers. "The models in the first room were in the air, too,' adds Miyata with a laugh. 'I think Fujimoto—san wants to float and fly! This is not an answer, but a question for the future." Fujimoto later adds that this design is 'a trigger to keep imagining.' The future, however, is never disconnected from the past. When asked what he thinks about the neglect and loss of Metabolist architecture in Japan, Fujimoto maintains that its ideas remain vital to architects' thinking. '(Ideas) of organic design and sustainability come from there,' he says before gesturing to his Resonant City 2025 model. 'In fact, I think this is something like updated Metabolism." It's a continuation of his signature style — airy structures with organic shapes that don't fight surrounding nature, but don't completely blend in, either. There's room for bold design, innovation and experimentation. In Fujimoto's utopian architecture, we can have it all: the forest and the metropolis, the public and the private. 'With the rise of computers and the internet, I started to wonder what would happen to physicality,' he says. 'The conclusion I reached was that it would likely grow in importance.' 'The Architecture of Sou Fujimoto: Primordial Future Forest,' is on view at Mori Art Museum through Nov. 9. For more information, visit

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