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“売上”と“サスティナビリティ”に
“文化性”という経営指標を加える
ムーブメント

Sales. Profit. Efficiency. Sustainability. These are
typical measures of a company’s success, financial
health and environmental responsibility. No doubt,
they’re crucial. But what are we overlooking?

Sales. Profit. Efficiency.
Sustainability. These are typical
measures of a company’s success,
financial health and environmental
responsibility. No doubt, they’re
crucial. But what are we overlooking?

売上や利益、効率性やユーザー数、
義務化されつつあるサステナビリティ。いつのまにか、
これらが優先され、目的化されるようになった。
そういえば、これら以外の「大事な目的」って
一体何だっただろう。どうして、「大事な目的」では
経営判断や企業活動を行いにくいのだろう。

Because when a company is fundamentally sound,
it’s in the position to think beyond the basics and ask
an important question: What else can we do?

Because when a company is
fundamentally sound, it’s in the
position to think beyond the basics
and ask an important question:
What else can we do?

稼いで環境貢献を行うことは、実は、
健康な状態ということに過ぎない。
重要なのは、健康な上で何をしたいのかということ。
それは、こだわりや文化を形づくるもの。

Cultars is a movement to create a new focus on
cultural enrichment. We believe culture is a key
performance indicator in a company’s livelihood.

Cultars is a movement to
create a new focus on cultural
enrichment. We believe culture
is a key performance indicator
in a company’s livelihood.

Cultars は、売上や利益、効率性やユーザー数、
サステナビリティに、「文化性」という新たな
経営指標を加え、浸透させていくムーブメント。

Our goal, is to make culture a goal. To help companies
recognize it, foster it and use it to flourish in society.

Our goal, is to make culture
a goal. To help companies
recognize it, foster it and
use it to flourish in society.

大事な目的を明快にし行動できるよう、
経営指標に組み込むだけでなく、
社会に残っていく文化づくりに貢献できる
企業を増やしていくためのもの。

Culture begins with the genuine passion of one,
or a few individuals. And because it is genuine,
it attracts others. It inspires. It’s contagious.
It might be a shared appreciation for an aesthetic.
Or a genre. Or taste. Or approach. It could be
an allegiance in sports, or a love of a food, music,
or an affinity for a certain kind of coffee mug.
If someone has a real passion for something,
others will find that passion compelling.

Culture begins with the genuine
passion of one, or a few individuals.
And because it is genuine, it attracts
others. It inspires. It’s contagious.
It might be a shared appreciation
for an aesthetic. Or a genre. Or
taste. Or approach. It could be
an allegiance in sports, or a love
of a food, music, or an affinity for
a certain kind of coffee mug. If
someone has a real passion for
something, others will find that
passion compelling.

文化は、個人や少数の人々のこだわりや
美意識から生まれ、人々が集まり、広まっていくもの。
コップの取手の装飾も、スポーツの競技大会も、
電化製品の美しい曲線も、新しい音楽ジャンルも、
いつも変わらない故郷の味も、初めは誰かの
こだわりから生まれ、少しずつ少しずつ
変化しながら、広がってきた。

Culture arrives in its own time. It’s organic.
It doesn’t wait to be told that there’s a need
for it. The passions that fuel culture, create
the need. And it becomes magnetic.

Culture arrives in its own time.
It’s organic. It doesn’t wait to be
told that there’s a need for it.
The passions that fuel culture, create
the need. And it becomes magnetic.

文化は、逆境の中でも進んでいくもの。
ニーズの有無に関係なく、こだわりを
形にしようと挑戦してきた人々がいた。
そして、こだわりを面白がって、長い目で
応援してきた人々もそこにいたはずだ。

We want to define new criteria that recognizes these
culture-creating passions. We want to engage them,
support them and nurture their long-term impact.
When cultural enrichment becomes a company
priority, the company takes on a more important
place in society. The company transcends traditional
business objectives.

We want to define new criteria that
recognizes these culture-creating
passions. We want to engage them,
support them and nurture their
long-term impact. When cultural
enrichment becomes a company
priority, the company takes on a
more important place in society.
The company transcends traditional
business objectives.

こだわりから生まれた物事を、
今までと異なる判断基準で認めていこう。
数年ではなく、長い長い目で応援をし、
地域も社会も巻き込んで、育て上げていこう。
経営指標に明確な「文化性」が加わったとき、
企業は、社会は、どのように変わっていくか。

We celebrate companies that have the courage and
passion to nurture culture.

We celebrate companies that have
the courage and passion to nurture
culture.

文化をつくる、勇気と愛ある企業に、拍手を。

文化性に関する経営指標
“文化影響評価(仮称)”構想について

In addition to the management benchmarks of
economic rationality demonstrated by sales, profit,
user base, sustainability development goals and
functions for social good, Cultars helps facilitate
emphasis on cultural enrichment.

In addition to the management
benchmarks of economic rationality
demonstrated by sales, profit, user
base, sustainability development
goals and functions for social good,
Cultars helps facilitate emphasis
on cultural enrichment.

Cultars では、(1)売上や利益、効率性や
ユーザー数などの“経済合理性”、
(2)ソーシャルグッドや SDGs などの
“持続可能性”に加えて、(3)“文化性”という
3つ目の経営指標を策定します。

To make this idea resonate, Cultars will set up
and conduct the Cultural Impact Assessment as
a performance indicator and evaluate companies
numerically. We’ll grant certification and make
it assessible to the public. This process becomes
a demonstration of the company’s value of culture,
fostering a community where it can flourish. We
plan to evaluate government organizations and
municipalities in the future.

To make this idea resonate, Cultars will set up and conduct the
Cultural Impact Assessment as a
performance indicator and evaluate
companies numerically. We’ll grant
certification and make it assessible
to the public. This process becomes
a demonstration of the company’s
value of culture, fostering a
community where it can flourish.
We plan to evaluate government
organizations and municipalities
in the future.

私たちは、この考えを浸透させていくために、
企業評価の指標「文化影響評価」という
アセスメントを策定し、様々な企業を数値的に評価します。
そして、独自認定を付与し、社会に公開することで、
企業の文化性の発露と社会での蓄積を促していきます。
将来的には、地方自治体などの行政や少人数の
プロジェクトなどに対しても評価を行うことを想定します。

Our assessment consists of four elements,
used to provide a numerical evaluation:

Our assessment consists of
four elements, used to provide
a numerical evaluation:

文化影響評価アセスメントの構想内容(仮案)本アセスメントは次の4つの要素で成り立ち、
これを元に総合的な数値化を行います。

MANAGEMENT:There are criteria in place for business management
decisions based on cultural enrichment (criteria other
than sales, profit, sustainability, user base and
efficiency) that are used in practice.

MANAGEMENT: There are criteria in place for
business management decisions
based on cultural enrichment
(criteria other than sales, profit,
sustainability, user base and
efficiency) that are used in practice.

経営の観点 文化性の経営判断基準を持ち(売上や利益、サステナビリティ、
ユーザー数、効率性に関するもの以外)、実行していること

ORGANIZATION:The organization’s stakeholders (shareholders,
employees, business partners, fans, etc.)
understand and identify with the importance
of cultural enrichment. The organization encourages
the individuality and creativity of people involved in
the organization and supports them for the
medium and long term.

ORGANIZATION: The organization’s stakeholders
(shareholders, employees,
business partners, fans, etc.)
understand and identify with the
importance of cultural enrichment.
The organization encourages the
individuality and creativity of people
involved in the organization and
supports them for the medium and
long term.

組織の観点 文化性が、組織に関わるステークホルダー（株主、社員、
取引先、ファンなどを含む）に理解され、 共感されていること
組織に関わる人々の個性や創造性を
解放し、中長期視野で支援していること

BUSINESS:The pursuit of cultural enrichment plays a role in all
are as of management including business, investment,
recruiting and training, and leads to the creation
and fostering of culture in society.

BUSINESS: The pursuit of cultural enrichment
plays a role in all are as of
management including business,
investment, recruiting and training,
and leads to the creation and
fostering of culture in society.

事業の観点 文化性が、事業・投資・採用・育成など経営のあらゆる領域で
関わり、文化の発露と蓄積に繋がっていること

SOCIETY:The organization makes investment and takes
actions both internally and externally to cultivate
individuality and creativity for the medium and
long term, to nurture culture in society.

SOCIETY: The organization makes investment
and takes actions both internally
and externally to cultivate
individuality and creativity for
the medium and long term, to nurture
culture in society.

社会の観点 社会での文化づくりのために、中長期視点での、人の個性や
創造性を促す投資やアクションを社内外で行なっていること

*Evaluators won’t be just representatives within
the organization, but stakeholders in a broad sense
(shareholders, management team, employees,
business partners, fans, etc.).

*Evaluators won’t be just
representatives within the
organization, but stakeholders
in a broad sense (shareholders,
management team, employees,
business partners, fans, etc.).

評価者は、組織内の担当者だけではありません。
広義のステークホルダー
（株主、経営陣、社員、取引先、ファンなど）が
評価していくことを想定しています。

文化影響評価アセスメントの
策定過程のコンテンツ化及び、発信

We will create content to show the assessment
process and make it available to the public.

We will create content to show
the assessment process and make
it available to the public.

本アセスメントの策定過程をコンテンツ化し、
順次公開していきます。

We’re looking for corporate
support to realize our vision.
If you share our views and
believe in our mission, we
look forward to hearing
from you. We also welcome
media inquiries.

We’re looking for corporate support
to realize our vision. If you share our
views and believe in our mission, we
look forward to hearing from you. We
also welcome media inquiries.

 facebook.com/Cultars.org
twitter.com/Cultars_org
instagram.com/Cultars_org

本構想を具体化する上で、様々な形で企業様に
ご協力をお願いしています。
私たちの構想にご共感頂ける企業様、
ぜひご一報をお待ちしております。
その他、取材などのお問合せも受け付けております。

Taro Yasuzawa

Co-Founder of Cultars / Co-Founder & CEO,
Koinobori Co., ltd. /
TAICOCLUB Producer

Hosted the TAICOCLUB outdoor music festival held in Kiso, Nagano,
for 13 years from 2006 to 2018 and grew the event to one of the most
famous music festivals in Japan with an audience of 10,000 people.
Currently engaged in activities to support artists and create the right
environment for them to produce work. Attended Graduate School
of Media Design, Keio University, Japan.

Hosted the TAICOCLUB outdoor music festival
held in Kiso, Nagano, for 13 years from 2006 to
2018 and grew the event to one of the most
famous music festivals in Japan with an audience
of 10,000 people. Currently engaged in activities
to support artists and create the right environment
for them to produce work. Attended Graduate
School of Media Design, Keio University, Japan.

安澤 太郎 Cultars 共同創業者
こいのぼり株式会社 代表取締役 / TAICOCLUB Producer 2006年より13年間に渡り長野県木祖村にて開催される
野外ミュージックフェスティバルTAICOCLUBを主宰。
来場者数1万人の日本を代表する音楽フェスティバルの一つへと成長させ、
2018年にその幕を降ろした。今後は制作者の活動のサポートに加え、
創造物が生まれる環境作りをサポートしていく。
慶應義塾大学大学院メディアデザイン研究科中退(日本)。

Kei Fujieda

Co-Founder of Cultars / Brand Planner /
Innovation Planner

Prior to going independent, worked at a creative agency Wieden + Kennedy
and an innovation design firm BIOTOPE. Specializes in strategic planning
for products, services and business in newly emerging categories while also
working on planning to instill the right mindset within organizations to create
new business, products and services. Aims to create an environment that
nurtures rich creative culture. Received a Master’s degree from Graduate
School of Media Design, Keio University, Japan.

Prior to going independent, worked at a creative
agency Wieden + Kennedy and an innovation
design firm BIOTOPE. Specializes in strategic
planning for products, services and business
in newly emerging categories while also working
on planning to instill the right mindset within
organizations to create new business, products
and services. Aims to create an environment
that nurtures rich creative culture. Received
a Master’s degree from Graduate School of
Media Design, Keio University, Japan.

藤枝 慶 Cultars共同創業者
Brand Planner / Innovation Planner クリエイティブエージェンシーであるWieden+Kennedy,
イノベーションデザインファームであるBIOTOPEを経て、独立。
新領域のプロダクトやサービスやビジネスのプランニングを得意
領域としながら、未来視野の新たな組織へと変容させていく
プランニングにも従事する。Cultarsを通し、想像力に
溢れる文化が生まれる環境づくりを行う。
慶應義塾大学大学院メディアデザイン研究科修了(日本)。

Kosuke Noma

Co-Founder of Cultars / Graphic Designer

After working on branding at nanilani inc and NOSIGNER,
moved to London in 2018 as a freelance graphic designer.
Received a B.A. in Linguistics from Doshisha University, Japan.

After working on branding at nanilani inc and
NOSIGNER, moved to London in 2018 as a
freelance graphic designer. Received a B.A.
in Linguistics from Doshisha University, Japan.

野間 晃輔 Cultars共同創業者
Graphic Designer nanilani inc, NOSIGNERにてブランディング業務に携わる。
2018年よりフリーランスグラフィックデザイナーとしてロンドンに移住。
同志社大学文学部卒業。

Hidemi Ichinose

Board member of Cultars / Cultural Planner /
Creative Catalyst

Bachelor’s degree in art management from Keio University SFC.
Previously, she worked on branding for a major Japanese auto company,
as well as a project manager at a world-renowned design office. Currently,
she is a planner at a media company. She specializes in catalyzing creative
change for the company by focusing on utilising both “creativity” and
“culture” practically. At Cultars, her goal is to foster better relationships
between culture and business.

Bachelor’s degree in art management from
Keio University SFC. Previously, she worked
on branding for a major Japanese auto company,
as well as a project manager at a world-renowned
design office. Currently, she is a planner at
a media company. She specializes in catalyzing
creative change for the company by focusing on
utilising both “creativity” and “culture” practically.
At Cultars, her goal is to foster better relationships
between culture and business.

一之瀬 秀実 Cultars理事
Cultural Planner / Creative Catalyst 慶應義塾大学SFCにてアートマネジメントを修めた後、
日系大手自動車メーカーで、事業およびコーポレート
ブランディングに長く従事。その後,デザインオフィスを経て、
メディア企業に在籍中。企業側の立場から、
創造性や文化という資源を活用し、未来視野に基づいた
リソースのマネジメントに従事。Cultarsでは、文化と
経済の良い関係づくりのドライブを行う。

Naoki Takahashi

Board member of Cultars / Editor

After working at a creative agency, he became
independent in 2018 and founded Pipeline LLC
in 2019. Specializes in media and advertising
planning, writing and editing.

After working at a creative agency,
he became independent in 2018 and founded
Pipeline LLC in 2019. Specializes in media
and advertising planning, writing and editing.

高橋 直貴 Cultars理事
Editor メディア企業を経て2018年独立。2019年合同会社Pipelineを設立。
メディア、広告の企画、執筆、編集や企業の情報発信支援を行なっている。

Sumiko Kumakura

Advisory Board Member of Cultars /
Professor at the Graduate School of Global Arts, Tokyo University of the Arts

BA in Université de Paris X, MA in Keio University (Art History and Aesthetics).
Her research interests are Art Management and Cultural Policy Studies.
Producer of numerous regional art projects such as the Toride Art Project,
Kitamoto Vitamin, and Art Access Adachi: Downtown Senju–Connecting
through Sound Art. She is also an adviser on cultural policy for the Agency
for Cultural Affairs and the Tokyo Metropolitan Government.

BA in Université de Paris X, MA in Keio University
(Art History and Aesthetics). Her research
interests are Art Management and Cultural
Policy Studies. Producer of numerous regional
art projects such as the Toride Art Project,
Kitamoto Vitamin, and Art Access Adachi:
Downtown Senju–Connecting through Sound
Art. She is also an adviser on cultural policy for
the Agency for Cultural Affairs and the Tokyo
Metropolitan Government.

熊倉 純子 Cultars アドバイザリーボード
東京藝術大学大学院国際芸術
創造研究科教授 パリ第十大学卒、慶應義塾大学大学院修了（美学・美術史）。
(社)企業メセナ協議会を経て、現職。アートマネジメントの
専門人材を育成し、「取手アートプロジェクト」(茨城県)、
「アートアクセスあだち 音まち千住の縁」(東京都)
など、地域型アートプロジェクトに学生たちと
携わりながら、アートと市民社会の関係を模索し、文化政策を
提案する。東京都芸術文化評議会文化都市政策部会委員、
文化庁文化審議会文化政策部会委員などを歴任。
監修書に『アートプロジェクト─芸術と共創する社会』など。