Outline
RegulationsOrganizer and supportersOur IdealsScreening perspectivesProject Policies for 2025Types of AwardsMessages
Regulations
"Principal Implementation Regulations for the GOOD DESIGN AWARD 2025" stipulate the outline of the GOOD DESIGN AWARD 2025 project. In accordance with the principal implementation regulations, various relevant regulations are prescribed.
Organizer and supporters
公益财团法人日本设计振兴会
经济产业省／中小企业厅／东京都／日本商工会议所／日本贸易振兴机构 (JETRO)／国际机关日本东盟中心／日本经济新闻社／NHK／世界设计组织（WDO）
Our Ideals
Screening perspectives
Whether tangible or intangible, GOOD DESIGN AWARD evaluates the quality of things that people create to achieve certain ideals and purposes as design. The jury members will consider the following "screening perspectives" to determine whether or not the entries are good designs based on a composite of various views of design context, purpose, process, and outcome.
Whether due considerations, including usability, understandability, friendliness, etc., are given to users
Whether various considerations, including safety, security, environment, physically weak persons, etc., are given to maintain the credibility
Whether the design gains the sympathy of users
Whether the design has attractiveness and induces users’ creativity
Whether issues are skillfully solved by using new technology and materials or through creativity
Whether the entry is reasonably designed or planned with appropriate technology, method, and quality
Whether the entry contributes to the creation of a new industry or business
Whether the entry contributes to the creation of new cultures, such as a new method, lifestyle, communication, etc.
Whether the entry contributes to the realization of the sustainable society
Whether the entry suggests new value, such as a new method, concept, style, etc. to society
Whether the entry puts past contexts and accumulated achievements to propose new value.
Whether the entry proposes a highly sustainable solution from medium- and long-term perspectives.
Whether the entry represents continual improvements in accordance with the times.
Project Policies for 2026
For the GOOD DESIGN AWARD 2026, Mr. Jun Nakagawa was newly appointed chairperson, with Ms. Noriko Kawakami, Mr. Gen Suzuki, and Mr. Yuma Harada as vice chairpersons. During the screening process, in addition to the screening perspectives of the GOOD DESIGN AWARD (human, industrial, social, and time), the evaluation considered whether each design contributed to the vision of the company or organization that created it. Promotional activities commemorating the 70th anniversary in 2027 have also begun. The main points are as follows.
Discovery of Outstanding Designs in Japan and Abroad and Promotion of Applications
During the application period, numerous briefing sessions and consultation meetings were held both in Japan and overseas to motivate potential applicants. In mainland China, cooperation with local media continued, with advertising carried out across multiple channels, including social media and web ads, to encourage applications. In Taiwan, since 2022, information and talks on excellent Japanese designs have continued to be disseminated through a well-established podcast channel, contributing to a better understanding of the GOOD DESIGN AWARD. Various promotional activities were also conducted in other overseas markets, including a local event in South Korea.
Launch of Communications Marking the 70th Anniversary
With the 70th anniversary approaching next year, communications marking the anniversary have been actively carried out across various aspects of the program since 2026. This year, a commemorative 70th-anniversary logo was first created. In addition, a special website was launched, along with a special interview series focusing on the “people” behind a diverse range of good designs.
Change in the Selection Method for the GOOD FOCUS AWARD
Starting this year, the chairperson, vice chairpersons, and unit leaders were divided into four groups for the selection of the GOOD FOCUS AWARD: “New Business Design,” “Design of Technique & Tradition,” “Design of Community Development,” and “Disaster Prevention & Recovery Design.” Each group selected the GOOD FOCUS AWARD winners through discussions while viewing presentation videos of the respective entries. In addition, separate from the Grand Award, the voting event titled “Our Favorite G Mark,” in which all visitors to the award exhibition could participate, continued to be held, providing an opportunity to foster broader interest in excellent design.
Types of Awards
GOOD DESIGN AWARD is presented to entries recognized as excellent designs from among all entries, and then 100 winners with superior designs are chosen as GOOD DESIGN BEST100.
Next, the Judging Committee chooses winners of the GOOD DESIGN GOLD AWARD and GOOD FOCUS AWARD as well as finalists for the GOOD DESIGN GRAND AWARD from the GOOD DESIGN BEST100.
The winner of the GOOD DESIGN GRAND AWARD is chosen from the finalists for that award voting by the jury members, winners, and others.
2026/3/12
助力愿景的设计
在接受GOOD DESIGN AWARD评审委员长的职务之际，我重新思考了“什么是好设计”。首先可以归纳出以下两个条件。
第一，是否让人本能地感受到美。无论是让人直觉上被吸引的造型与姿态，还是使用时的舒适感，这种“美”都不应只停留在装饰性的层面，而应当包含功能性与合理性。
第二，是否具有社会性。这不仅是指对环境的关注，也包括人权、劳动、物流、产业结构等方面，也就是该设计如何与社会发生关系。设计始终是社会的一部分，也内含着对社会的态度。
以上，或许就是我们当前普遍认知的“好设计”的主要条件。但我认为，仅凭这两点还不够。
应该再加上第三个条件——是否有助于实现愿景。也就是说，它是否能够把企业或组织存在的意义，与具体的业务活动连接起来。前提愿景不同，设计应有的样子也会不同。设计应当以协调统一的方式，将愿景、世界观与产品连接起来，同时也承担着向用户传递信息并促进其深入理解的沟通作用。
我认为，这种视角在过去的设计评价中，还没有被充分认识到。而这也并非仅靠设计本身就能解决。首先，商业端必须提出清晰且具备足够分辨率的愿景。只有商业端与创意端协同合作，才能真正跨越这一问题。
我希望GOOD DESIGN AWARD不仅是设计从业者的舞台，也能成为商业端与创意端开展对话、实现协作的平台。也希望各位能借参加GOOD DESIGN AWARD的契机，重新思考企业应有的样子，以及自身的愿景。
2026/3/12
在探索中塑形
我们所生活的当下，处在连接过去与未来的连续脉络之中。建立在过往无数探索的积累之上，我们该如何继续推进新的创造活动？如今，设计所承担的角色正变得更加广泛而深刻，我也再次感受到，面向未来提出细致而积极的方案尤为重要。
近年来，随着各种经验不断积累，许多问题的解决路径往往能够被迅速提出。但面向人和社会的创造性思考与行动，并不容易被套入固定框架之中。恰恰是在那些难以立即得到答案的情境里，往往隐藏着不应被忽视的重要启示。因此，我也希望关注的是：各家公司、每个人，如何以自身的立场和专业能力为优势，从身边出发，将洞察扩展到更广阔的情境之中，以及这种有力而持续的努力，将带来怎样的环境和事业形态。
同时，灵活连接个体处境与不同领域，也是设计的重要职责之一。项目相关的众多参与者如何通过持续对话，以更综合的视角塑造我们所处的环境；以及，推动这些尝试的背景与过程，如何以热情与勇气被广泛传达出去，这些同样不应被忽视。
我期待，在面向社会未来的愿景之下，通过兼具推动想法前进的逻辑思维、作为当代生活者的感性，以及作为事业实践者的视角的活跃行动，设计更广泛的可能性能够不断显现。希望能通过本年度的GOOD DESIGN AWARD，与更多人相遇。
2026/3/12
美丽的形态
设计，是在混沌的社会中塑造“美丽的形态”的实践。这里所说的“形态”，当然不只是物理层面的形状。它也包括地区的形态、事业的形态、生活的形态。也就是说，将原本分散的要素连接起来，赋予其轮廓，使之成为一种我们能够切实感知、具备真实触感的秩序状态。
如今社会面临的许多问题，讽刺的是，也正是合理性、效率性等基于各自立场的“正确性”不断累积，追求局部最优的结果。正确性固然是强有力的标准，但正如“合成谬误”所揭示的那样，正确地将个别层面叠加起来，整体上却往往会引发新的问题。环境问题和社会分裂，也并不一定出自谁的恶意，而往往正是许多善意之人“正确选择”的累积所造成的现实。
而所谓美，则是存在于要素之间关系协调、整体运行自然顺畅的状态之中的性质。它不仅体现在色彩和形态的平衡上，也体现在如何接纳彼此冲突的价值，例如个人的热情、组织的愿景与事业性，现场的迫切现实与全球性课题等。即便其中仍有不完美之处，只要整体没有崩坏、仍保持着平衡，人就会本能地感受到其中的美。
如今，我们被要求面对的，已不仅是能够用数字衡量的“正确”，更是超越计量之后的协调品质，也就是美。听到“美”，也许有人会觉得那只是感性的东西。但试图塑造“美丽的形态”的姿态，并不仅仅是审美取向，而是一种在包容矛盾的同时，认真编织社会中柔韧秩序的态度。这一点，无论是“物”的设计，还是“事”的设计，都是共通的。作为重新整合那些彼此分裂的“正确性”的智慧，设计的力量正在受到检验。我衷心期待，能够跨越领域，遇见那些真正有触感的“美丽形态”。
2026/3/12
点亮想象力的设计
那些安静存在着的事物，那些缓缓连接人与人的机制，真的能够被分开来谈吗？放眼我们的社会，事物与机制始终交织在一起，被共同“设计”出来。正因为有了事物，机制得以诞生；也正因为有了机制，新的事物才能出现。而在这些设计真正形成之前，从业者和企业都曾怀着对使用者的想象，投入了漫长的时间。我想，正是这些不断累积的尝试与摸索，静静支撑着我们的社会生活。
70年来，GOOD DESIGN AWARD始终与日本社会中的经济活动同行，并与各位参评者一起持续思考和传达“设计究竟是什么”。但在社会快速变化的今天，我们是否也有一些事物被忽视了，或者逐渐变得不可见了呢？我希望能够把目光投向那些源于细微体贴的小设计，以及那些安静连接人与人的机制。近年获得年度大奖的作品中，我感到其本质性的“为了某个人”的视角，呈现得愈发鲜明。在分裂与不安逐渐扩大的时代，不只是去关注眼前的身边人，也要去想象那些尚未相遇的人。这也可以说，是与设计工作相关的人所应具备的专业能力。
在此基础上，我认为，今后GOOD DESIGN AWARD的角色，应当是一个让我们停下脚步、重新审视当下设计能做什么、不能做什么的场所；是一个培育参评者彼此联系的场所；也是一个重新连接彼此的桥梁。期待在不断尝试这些新挑战的过程中，能够看见未来社会，并遇见那些已经开始萌芽的新经济活动的微小征兆。评审委员会全体成员，期待见到能够在人与人之间点亮新的想象力的设计。
