An advertising path - summer(5)
Then, before turning 28 then, I already achieved success in a sales promotion for HONDA in its house production, TOKYO GRAPHIC DESIGNERS. Thousands of snow blowers were sold out through a successful campaign, which I pursued as the chief copywriter, even before formal distribution. Also, collaborating with American copywriters as well as Japanese creative personnel, I made lots of ad concepts and copies for both global and domestic sales promotion of the general-purpose products of HONDA. I was in the swing of things, and, at the same time, was certainly in the 'Bubble.' I was so absorbed in a dreaming world of advertising that I even couldn't notice what was actually changing around me. But before I knew it, every town of Japan converted into like a Seven-eleven's convenient residence; meanwhile, my writing poems and taking pictures had completely replaced by the activities of creating advertisements.
It was at the end of '80s, and people in Japan were believing that their economy never decline as long as heading for higher quality goods. They were intoxicated with brand names so apparent statuses. I, too, didn't doubt that not so later I could get a brand-new PORCHE or FERRARI. Almost everyday, our team worked until after the last trains and then either drunk in a pub nearby or got home by taxi, by the early morning. Since I had convinced my great contribution for the 300-million-yen campaigns and was aware that I am an unusual ideas man focusing on problems and the objective quickly, when negotiating the next 1-year-contract I requested at least 6-million-yen for my annual salary. However, they merely offered either 5-million-yen for a 1-year-contract or a permanent contract until I reach 60 with much lower salary. The HONDA-related companies have every now and then the most innovative operations in Japan; nonetheless, TOKYO GRAPHIC DESIGNERS, where the creativity is the bottom line, couldn't come off the stagnant Japanese seniority system. Now, however, I can understand why so; if they hadn't hammered down the nails that stuck up, they wouldn't have been able to sustain ties with other institutes of Japanese society.
The marketing of HONDA required us, ad creators, a certain style: the head copies usually have to be a 'massive form' in order for sales personnel as well as consumers to easily repeat. Back then, thinking of that HONDA had already become an American company and that we were using simple words translatable, Japanese language might have gradually been decreasing its efficiency on Japanese people. The more immersed in illusions of advertising, the less I became interested in pursuing the truth; because having designers and photographers to illustrate the concepts for advertisements enabled to establish another worlds in media. However, I still wanted to write a line like in a novel, which is rather 'long and lyric' than the descriptions requested by HONDA, with more a wide variety of clients and merchandises. After all, I was and am me, nothing else.
Hearing of my supervisors saying, "Endo-kun, you shall be with the general-purpose products of HONDA your whole life time!", I instantly and vividly foresaw my dreary future life: just the same as my elder colleagues were doing, I would only sustain one wife and child with a tight apartment on the far outskirts of Tokyo. That is all. At this point, since I had nothing to learn from my supervisor to improve not only my copy-writing but also planning ad strategies and stratagems, I didn't make another contract with the company so that endeavoured to my another step.
I was 28 and it was 1990. Having become freelance, however, I had to realise that when applying to the better ad companies they always refused even to see me, due to my frequent change of companies.
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[PR]
by tetsuya_endo | 2008-03-17 07:18 | Chapter 2
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■Tetsuya Endo Profile
Born in Shizuoka-prefecture, Japan, 1961. BA, Seikei University (Major: Cultural Science) in 1985.
As a copywriter (creative director) in the Japanese advertising industry for over 15 years, I have never been satisfied with and by compelling myself and others to sell and buy goods. Thus, I left Japan or its materialism for apparently nature-co-existing Canada, where as photographer finding that I can't be a Japanese without Asian background prompted me to settle in the Philippines. While challenging a new business by the slogan "Economy & Ecology, ECOH!," I have been looking for a publisher for this "Transition Japan" and also "A Man Goes to North."
1961年、静岡県生まれ。成蹊大学文学部文化学科卒。日本デザインセンター、東京グラフィックデザイナーズをはじめ広告企画制作業界でコピーライター、後クリエーティブディレクターとして15年以上務めるも、売れども売れども、買えども買えども満たされず。カメラを手にカナダ横断を往復するドライブで「アジアの日本人」でありそれ以外何者でもないアイデンティティを悟るとフィリピンに移住。"Economy & Ecology, ECOH!"をスローガンに新しいビジネスに挑戦しながら、この「Transition Japan」及び「A Man Goes to North」を上梓できる出版社を探している。

Contact:
tetsu95jp@yahoo.co.jp
cell: +63.928.707.2843

No part of this publication may be reproduced for use in any form, without prior written permission of Tetsuya Endo.
掲載画像・文章の無断使用は禁じています。全コンテンツの著作権・版権はTetsuya Endoが有しています。