To date, projects supported by the Fund have been implemented across 23 countries and regions, generating new forms of international collaboration within the creative industries.

TOKYO, JAPAN – Media OutReach Newswire – 25 June 2026 – Held on Friday, June 5, 2026, the “Japan Creator Support Fund Progress Report Meeting” served as a platform for organizations selected under the “Support Programs for Creator Development & Cultural Facilities Function Enhancement” and the “Creator Support Program (Program Development and Implementation)” to present the outcomes of their projects from FY2025. The event, took place at the Ministry of Education, Culture, Sports, Science and Technology (MEXT), Tokyo, highlighted growing international engagement through overseas performances, participation in major international events, and cross-border collaborations, with supported projects generating tangible results including awards, nominations, co-productions, and institutional partnerships across music, film, games, visual arts, and the performing arts.

Now entering its third year, the Japan Creator Support Fund is a government-backed, multi-year national initiative supported by the Agency for Cultural Affairs that aims to nurture emerging creators and artists while strengthening cultural institutions that serve as hubs for creative activity and public engagement. The Fund, delivered through the Japan Arts Council, also promotes international exchange and overseas expansion opportunities, helping Japanese creators and cultural organisations build global networks and reach new audiences.

The progress report meeting opened with remarks from Mr. Shigeki Kobayashi, Vice Minister of Education, Culture, Sports, Science and Technology. Noting the government’s commitment to strengthening Japan’s creative industries, Vice Minister Kobayashi emphasised that “creators and artists themselves are the source of compelling content,” reaffirming the importance of sustained investment in creative talent and international exchange. At the report meeting, representatives from the Japan Arts Council provided an overview and progress update on the Japan Creator Support Fund, reporting that supported projects have generated international activity across 23 countries and regions, spanning Asia, Europe, North America and beyond. Achievements reported for FY2025 included selections at the Berlin International Film Festival, Cannes Directors’ Fortnight and Annecy International Animation Film Festival, performances at London’s Royal Opera House, international touring projects, and new collaborations between Japanese and overseas cultural organisations. Further information on program results, case studies and upcoming international activities can be found in the Notes to Editors below.

At the report meeting, four organizations each introduced its project, reporting on progress to date as well as key challenges, future plans and areas for further development.

• Japan Performing Arts Solidarity Network introduced SOIL Fellowship Program (Stage for Originality, Innovation, and Leadership), an initiative designed to cultivate producers and strengthen the international positioning of Japanese performing arts. In FY2025, program participants took part in pitching events in London and Edinburgh, presenting their work to performing arts professionals from around the world. The project aims to enhance the global presence of Japanese theatre, facilitate the international circulation of works, and foster the accumulation and sharing of professional expertise.
• Tokyo Metropolitan Theatre presented TMT Gear – The Creator Support Project, which seeks to strengthen Japan’s international presence in contemporary performing arts through the development of globally active creators and the enhancement of theatre staff expertise. FY2025 activities included on-the-job training during overseas performances, international networking with performing arts professionals, work-in-progress presentations in the fields of performing arts and music, and 8K recording and technical training initiatives undertaken by the theatre’s video media team.
• KINEMA CIRTUS reported on the Global Anime Challenge (GAC), a program designed to provide learning opportunities for emerging talent and foster the next generation of leaders in Japan’s animation industry. In FY2025, participants attended domestic workshops and undertook internships at overseas animation studios, gaining practical knowledge across key areas of the industry, including international collaboration, production and business development. The project also identified future priorities, including strengthening support from participating studios and expanding opportunities for internationally focused animation production.
• Jikei Gakuen School Corporation – Tokyo Communication Arts College introduced Immersive Media Lab++, an immersive content creator development program delivered in collaboration with XR company STYLY. During FY2025, the project focused on establishing the foundations of its curriculum and conducting overseas research visits to inform program development. Participants also reported on experiences gained through hackathons and study visits to the United States. Beginning in FY2026, the program plans to introduce year-round courses for students alongside overseas training opportunities and expanded international partnerships.

For further information, please visit the official Japan Creator Support Fund website, which provides updated information on selected organizations, upcoming exhibitions and performances, event information, creator interview videos, and creator profiles. https://creator.ntj.jac.go.jp

APPENDIX: KEY FY2025 RESULTS, INTERNATIONAL ACHIEVEMENTS AND UPCOMING FY2026 ACTIVITIES

Support Program Achievements

Creator & Artist Development Support Program
Activities carried out under the supported projects have included participation in overseas events, performances in Europe, research conducted abroad, and other initiatives. These initiatives have produced results such as awards, nominations, and co-productions across various fields, including music, film, and games. Through the strengthening of domestic and international networks and professional guidance, a solid foundation is being steadily built for full-scale overseas expansion.

Key FY2025 Results:

• Number of creators supported: 544
• Number of advisors involved: 301
• Domestic performances/exhibitions: 163
• Overseas performances/exhibitions: 165
• Total attendance across domestic and international events: 873,761
• Countries and regions involved (23 total): Ireland, United States, Italy, India, United Kingdom, Australia, Canada, Singapore, Switzerland, South Korea, China, Germany, France, Vietnam, Malta, Taiwan, Hong Kong, Indonesia, Thailand, Malaysia, Spain, Argentina, and Portugal

Support Program for Cultural Facilities Function Enhancement
Through initiatives funded by the Japan Creator Support Fund, international collaboration has advanced through various hubs including museums, theaters, concert halls, and other institutions. Talent development has also been strengthened through the invitation of overseas curators, co-commissions, mentoring by leading figures in Japan and abroad, and critical writing by development candidates. Progress is also being made in forming foundations for international expansion and network-building, including the establishment of new organizations, overseas performances, professional development, and exchange.

Key FY2025 Results:

• Number of creators supported: 133
• Number of advisors involved: 88
• Overseas performances/exhibitions: 5
• Domestic performances/exhibitions: 92
• Total attendance across domestic and international events: 1,900,597
• Countries and regions involved (8 total): South Korea, China, Germany, France, Taiwan, Indonesia, Slovakia, and Mexico

Creator Support Program (Program Development & Implementation)
Individual projects are undertaking specific measures to develop and implement training programs. In particular, selected educational organizations are making progress in their preparations to establish new departments and courses. As part of these measures, many overseas study visits have been conducted in order to understand needs for Japanese content around the world and survey the state of education for developing global talent. Destinations included approximately 15 countries worldwide, including countries in Africa.

The selection of training candidates is moving forward, and some projects have already launched practical programs. In addition to seminars and workshops held in Japan, overseas dispatches have also taken place. Initiatives included participation in the Berlin International Film Festival in Germany by Tokyo Docs, Atmovie Inc., and Tokyo University of the Arts; an observation visit to MIT Reality Hack in the United States by Jikei Gakuen; and training at higher education institutions, such as the dispatch by VIPO to the Griffith Film School in Australia.

Building on Recent International Successes: Looking Ahead to FY2026

Various organizations are expected to launch full-scale overseas exhibitions, performances and collaborative initiatives in FY2026, further expanding the global reach of Japanese creators and cultural institutions. These upcoming activities build on a growing number of international achievements already generated through projects supported by the Japan Creator Support Fund.

Upcoming FY2026 Activities

As part of ROHM Theatre Kyoto‘s “Repertory Premiere: ‘Hopes'” program, Kichijitsu Saikai, a work created by one of the program’s supported artists, is scheduled to be presented at the Beitou Art Festival in Taiwan from 7–9 August 2026.

In September 2026, WITH LiMBO, created by participants of Aichi Prefectural Art Theater’s “Constellation ~ Connecting Worlds with Aichi Prefectural Art Theater Dance Project ~” is scheduled to be performed in Slovakia.

In the visual arts sector, Syuto Kanazawa is presenting the exhibition Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society as part of “Kogei Artists Promotion Project”in Venice, Italy, from 9 May to 22 November 2026.

Recent International Successes

Under the New National Theatre, Tokyo‘s “Project for Training World-class Dancers Through International Performances”, Giselle was staged at London’s Royal Opera House from 24–27 July 2025. The performances attracted significant attention and played to near-capacity audiences throughout the run. Building on this success, the National Ballet of Japan was named Outstanding Company at the UK’s National Dance Awards 2025 by the Critics’ Circle Dance Section, becoming the first Japanese ballet company to receive the prestigious honour. The award recognised the company’s achievements in the UK, including its Royal Opera House performances under the artistic direction of Miyako Yoshida.

As part of Shochiku‘s “Creator Development Aimed at Expanding Kabuki Overseas”, joint lectures and performances with Korean pansori artists were held in South Korea, laying the groundwork for the European tour of How an Onnagata Is Made. In April 2026, the production undertook its first European tour in eight years, presenting six performances across Paris, Rome and Cologne.

Under “Film Frontier”, a feature animation creator support program administered by UNIJAPAN, Hanarokushō ga Akeru Hi ni was selected for the Competition section of the 76th Berlin International Film Festival, competing for the Golden Bear. Directed by Japanese painter Yoshitoshi Shinomiya, the film marks his feature directorial debut and received support through the program for its international development. The selection represents a significant milestone for Japanese animation, following Spirited Away and Suzume, which were previously selected for the festival’s Competition section.

Also supported through “Film Frontier”, Housenka was selected for the Feature Film Competition at the Annecy International Animation Film Festival 2025. The original animated feature was created by director Baku Kinoshita and writer Kazuya Konomoto, the creative team behind the acclaimed television series Odd Taxi. The program supported the film’s international development and overseas promotion.

Under “New Way, New World: Program for Connecting Japanese Animators to the World”, administered by Computer Graphic Arts Society (CG-ARTS), Eri, directed by first-cohort selected artist Honami Yano, was selected for Directors’ Fortnight at the 79th Cannes Film Festival.

As part of Mori Art Museum‘s “Global Art Professional Development Project”, the exhibition The Architecture of Sou Fujimoto: Primordial Future Forest attracted 236,705 visitors, achieving 160% of its attendance target, and received positive reviews across more than 50 media outlets. Following its successful presentation in Tokyo, the exhibition is scheduled to tour Asia in 2026.

Under Aichi Prefectural Art Theater‘s “Constellation: Aichi Prefectural Art Theater Dance Project Connecting the World”, Giselle: A Summary, featuring program participant Hana Sakai, was invited to the Lessingtage theatre festival in Hamburg, Germany, in February 2026 and to the SPRING Performing Arts Festival in Utrecht, the Netherlands, in May 2026. The performances received positive critical attention, with local reviewers highlighting Sakai’s exceptional technical skill and artistry.
Hashtag: #JapanCreatorSupportFund

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The issuer is solely responsible for the content of this announcement.

About the Japan Creator Support Fund

The Japan Creator Support Fund was established in FY2024 within the Japan Arts Council through funding from the Agency for Cultural Affairs. The fund aims to provide flexible, multi-year support for the development of outstanding Japanese creators and artists.

Since FY2024, the fund has operated the “Support Programs for Creator Development & Cultural Facilities Function Enhancement,” promoting creator development and strengthening cultural facilities that serve as hubs for creative activities and public engagement. From FY2025, the “Creator Support Program (Program Development & Implementation)” has additionally supported initiatives that strengthen educational institutions through industry-academia-government collaboration and foster practical professional development for creative industries and international expansion.

https://creator.ntj.jac.go.jp/en

Live-Fluence League showcases how creators are becoming entrepreneurs, partnering with brands to drive sales and build long-term brand equity, reflecting Ogilvy’s Creator Commerce proposition and principle: Sales Overnight. Brand Over Time

SINGAPORE – Media OutReach Newswire – 25 June 2026 – Ogilvy, in partnership with TikTok Shop, today launched the Live-Fluence League, a first-of-its-kind live commerce competition in Singapore which brought together eight of leading social sellers to compete in real time, driving measurable sales for featured brands through a live, trackable leaderboard. The atmosphere was electric and the energy unrivalled. Singapore became the first market across the Ogilvy Asia Pacific network to introduce the League this evening.

8 live sellers competed in Ogilvy’s Live-Fluence League
(Top Row, left to right) @summerscent, @paperyiran, @roy.kai, @27.fenn,
(Bottom row, left to right) @shermainevip, @veraciayong, @sereneloy.1004, @winzzles

More than a competition, the Live-Fluence League marked a milestone moment for Singapore’s rapidly evolving creator economy. For the first time, brands, marketers, media and creators witnessed the power of live commerce unfold in real time, with TikTok Shop experts providing live commentary and analysis of the strategies, techniques and commercial decisions that drive successful social selling.

“By bringing together creators, brands and platforms, Ogilvy’s Live-Fluence League demonstrated how creator commerce can serve as both a growth engine for businesses and a career opportunity for the next generation of entrepreneurs. This is part of Ogilvy’s long-term commitment of spearheading and advocating for a more sustainable and dynamic creator economy – one that equips creators with the opportunities, education and industry connections needed to thrive,” said James Baldwin, Head of Influence, Ogilvy Asia Pacific.

Unlike traditional industry events that discuss commerce in theory, guests experienced it first-hand, watching creators transform content into actual sales and influence with clear returns on investments for businesses.

This is especially relevant at a time where many are seeking alternative streams of income amid concerns about employment

Ogilvy is actively working hand-in-hand with brands to unlock new growth channels within the rapidly growing creator commerce economy, to turn everyday influence into a powerful driver of sales, strategic investment and measurable revenue.

Shirley Tay, Chief Executive Officer, Ogilvy Group Singapore shared, “As the commerce landscape rapidly evolves, we are focused on partnering with brands to unlock new, scalable avenues for growth through the creator-led economy. This isn’t just about content; it is about conversion. By integrating social, live-stream, and affiliate commerce directly into the brand ecosystem, we turn engagement into measurable revenue, building a frictionless commerce presence for our clients that meets consumers exactly where they are. As industry leaders, Ogilvy Singapore is proud to be pioneering this tech-enabled, creator-driven frontier for our clients because, as David Ogilvy famously said, ‘We sell, or else'”.

Ogilvy’s Creator Commerce proposition is built around a simple principle: Sales Overnight. Brand Over Time.

Of course, creator commerce presents enormous commercial potential, but rather than taking a short-term, tactical approach with creators done on ad hoc basis, Ogilvy believes sustainable success requires a strategic approach. This takes into consideration brand alignment, creator fit and the long-term equity being built—or eroded—with every engagement.

The sales overnight, brand over time approach combines the immediate revenue-driving potential of creator commerce with brand-building strategies that ensure creators, content and commerce work cohesively alongside wider marketing communication efforts.

Creator Commerce: The Next Frontier of Growth

By 2030, the ecosystem is projected to contribute US$1.2 trillion to Asia Pacific’s (APAC) economy, fuelled by a staggering 1,267% year-on-year increase in monetised creators across the region.[1] At the same time, retail is experiencing a growing authenticity crisis. Three in four APAC consumers now actively skip overly polished advertising, while 90% say they rely on authentic creator-led content before making a purchase decision.[2]

These shifts are fundamentally reshaping how consumers discover, evaluate and buy products. Social commerce is no longer an emerging trend—it is now one of the fastest-growing retail channels globally, contributing an estimated US$1.6 trillion to the US$5 trillion e-commerce industry.[3]

Yet despite the explosive growth of TikTok Shop and other social commerce platforms across the region, many brands remain on the sidelines and are not yet tapping into the strength of creator commerce to grow their business. As competition intensifies, the opportunity for brand early movers is becoming increasingly limited.

From Content Creators to Commercial Entrepreneurs

The Live-Fluence League was designed to spotlight a significant transformation taking place within the creator economy: creators are no longer simply content producers, they are becoming entrepreneurs, retailers, and business owners.

The competition showcased the sophisticated skill set required to succeed in this new economy—from persuasive storytelling and audience engagement to salesmanship, product positioning, data analysis and commercial strategy.

Beyond the competition itself, the event served as a platform for thought leadership and industry learning. Guests heard from platform leaders, commerce experts and successful creators on the future of social selling, changing consumer behaviour and the evolving role of creators in the digital economy. They were also given direct access to participating livestream sellers, providing a rare behind-the-scenes look at the individuals redefining modern retail through creator-led commerce.

In a marketplace where anyone can sell, the brands that will win are the ones that sell with purpose.

Hashtag: #Ogilvy

The issuer is solely responsible for the content of this announcement.

About Ogilvy

Ogilvy has been creating impact for brands through iconic, culture-changing, value-driving ideas since the company was founded by David Ogilvy in 1948. It builds on that rich legacy through Borderless Creativity – innovating at the intersections of its advertising, public relations, relationship design, consulting, and health capabilities with experts collaborating seamlessly across more than 120 offices spanning 90 countries.

Ogilvy currently ranks as the #1 global agency network for creative excellence and effectiveness by WARC, signifying its ability to deliver creative solutions that drive unreasonable impact for clients and communities. Ogilvy is a WPP company (NYSE: WPP). For more information, visit Ogilvy.com, and follow us on LinkedIn, X, Instagram, and Facebook

Presenting on the subject “CEO AI Playbook” for retailers and manufacturers, Malina shared that while many organisations have identified AI use cases, few have addressed the real barrier to scale: culture and system design.

“AI does not transform companies. Leaders do,” said Malina. “Culture moves when everyone moves. If AI sits in IT, it fails. If every function moves together, it scales.”

From Pilots to Enterprise Synchronisation

Malina challenged the traditional cascade model – CEO to IT to training to business units – calling it too slow for today’s environment.

Instead, she outlined a CEO-led synchronised approach in which all businesses and functions adopt AI simultaneously, supported by IT and HR. AI is horizontal, not vertical. Everyone moves in parallel, embedding AI directly into workflows, decisions, and performance management.

“This is not about experimentation at the edges,” Malina said. “It is about enterprise-wide execution.”

Redefining ROI: From Static Returns to Compounding Value

“Traditionally, we start with a defined investment. We build a business case, implement the solution, and drive initial adoption. Once deployed, we measure productivity gains and calculate ROI. The focus is on achieving a fixed financial return within a set timeframe. Value is captured once – not compounded.”

“In AS Watson, we begin with Value Creation – identifying high‑impact AI use cases aligned to strategy in each function. Once value is proven, we drive Adoption across workflows to embed it operationally.”

“As adoption deepens, we achieve Value Scaling – expanding across functions, geographies, and additional use cases . That leads to measurable Value Realisation which funds and accelerates the next wave of value creation. This is how ROI becomes compounding value.”

The Agility Equation

A central moment of the keynote was the introduction of a simple formula:

Agility = Acceleration – Friction

Acceleration comes from technology investment and ambition. Friction comes from complexity, silos, slow decision rights, and misaligned incentives.

“Agility is not a talent issue. It is not a capability issue, not a software issue,” Malina said. “It is a leadership choice and a system design issue.”

She opined that most companies overinvest in acceleration while underinvesting in friction removal – leaving AI initiatives stalled in pilots rather than scaled across the enterprise.

“The question is not how to add more speed,” she said. “It is what friction leaders are willing to remove.”

A CEO Agenda

Closing the session, Malina positioned AI as a defining leadership test for the industry.

“AI will not transform the company because you bought it. It will transform your company because you led it.”

“The return on AI doesn’t come from the tool. It comes from the courage to change how the company works.”

“GenAI will not just change how retailers and manufacturers work — it will change how we work together.”

“Retail will become more human, not less. Technology will be invisible. Customers will remember how we made them feel, not how advanced our systems were.”

In an environment defined by margin pressure, supply chain volatility, and shifting consumer expectations, the message resonated clearly: AI-driven agility is no longer optional – it is structural.

Hashtag: #ASWatson

The issuer is solely responsible for the content of this announcement.

About AS Watson Group

Established in 1841, AS Watson Group is one of the world’s longest-standing and most recognised retail companies with roots in Asia. Today, the company operates over 17,000 stores across 12 retail brands in 31 markets, employing 130,000 people globally. This makes AS Watson Group the largest international health and beauty retailer in the world.

In the fiscal year 2025, AS Watson Group reported revenue of over US$26 billion. The company’s technology-enabled O+O (Offline plus Online) platforms serve over 6 billion shoppers annually, seamlessly integrating physical and digital retail experiences.

AS Watson Group supported over 180 charitable and non-profit organisations every year, dedicating over 40,000 hours of volunteer work to serve over 370,000 people in need in our operating markets.

AS Watson Group is also a member of the world-renowned multinational conglomerate CK Hutchison Holdings Limited, which has four core businesses ‐ ports and related services, retail, infrastructure and telecommunications in over 50 countries.

Please visit www.aswatson.com/our-company/o-and-o-strategy/ for more information.