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
公益財團法人日本設計振興會
經濟產業省／中小企業廳／東京都／日本商工會議所／日本貿易振興機構 (JETRO)／國際機關日本東協中心／日本經濟新聞社／NHK／世界設計組織（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
助力願景的設計
在接受GOOD DESIGN AWARD評審委員長一職之際，我重新思考了「什麼是好設計」。首先，我認為可以歸納出以下兩個條件。
第一，是否能讓人本能地感受到美。無論是讓人直覺受到吸引的造型與姿態，還是使用時的舒適感，這種「美」都不應只停留在裝飾性的層面，而應包含功能性與合理性。
第二，是否具有社會性。這不僅是指對環境的關注，也包含人權、勞動、物流、產業結構等層面，也就是說，該設計如何與社會發生關聯。設計始終是社會的一部分，也內含著對社會的態度。
以上，或許就是我們目前普遍認知中「好設計」的主要條件。但我認為，僅有這兩點還不夠。
還應加上第三個條件，也就是是否有助於實現願景。換言之，它是否能夠將企業或組織存在的意義，與具體的業務活動連結起來。由於前提願景不同，設計應有的樣貌也會不同。設計應以協調一致的方式，將願景、世界觀與產品連結起來，同時也承擔向使用者傳遞訊息，並促進其深入理解的溝通功能。
我認為，這樣的視角在過去的設計評價中，尚未被充分認識。而這也不是僅靠設計本身就能解決的問題。首先，商業端必須提出清晰且具足夠解析度的願景。唯有商業端與創意端協力合作，才能真正跨越這道課題。
我希望GOOD DESIGN AWARD不僅是設計從業者的舞台，也能成為商業端與創意端展開對話、實現協作的平台。也希望各位能藉由參加GOOD DESIGN AWARD的契機，重新思考企業應有的樣貌，以及自身的願景。
2026/3/12
在探索中塑形
我們所生活的當下，處於連接過去與未來的連續脈絡之中。建立在過往無數探索的累積之上，我們該如何持續推進新的創造活動？如今，設計所承擔的角色正變得更加廣泛且深刻，我也再次感受到，面向未來提出細緻而積極的提案尤為重要。
近年來，隨著各種經驗不斷累積，許多問題的解決路徑往往能迅速被提出。然而，面向人與社會的創造性思考與行動，並不容易被套入固定的框架之中。恰恰是在那些難以立即得到答案的情境裡，往往隱藏著不容忽視的重要啟發。因此，我也希望關注的是：各家公司、每一個人，如何以自身的立場與專業能力為優勢，從身邊的對象出發，將洞察擴展到更廣闊的情境之中，以及這種有力而持續的努力，將帶來怎樣的環境與事業樣貌。
同時，靈活地連結個別處境與不同領域，也是設計的重要職責之一。專案相關的眾多參與者如何透過持續對話，以更整合的視角塑造我們所處的環境；以及推動這些嘗試的背景與過程，如何以熱情與勇氣被廣泛傳達出去，這些同樣不應被忽視。
我期待，在面向社會未來的願景之下，透過兼具推動想法前進的邏輯思考、作為當代生活者的感性，以及作為事業實踐者的視角所展現的活躍行動，設計更廣泛的可能性能夠不斷浮現。也希望能透過本年度的GOOD DESIGN AWARD，與更多人相遇。
2026/3/12
美麗的形態
設計，是在混沌的社會中塑造「美麗形態」的實踐。這裡所說的「形態」，當然不只是物理層面的形狀。它也包含地區的形態、事業的形態、生活的形態。也就是說，將原本分散的要素連結起來，賦予其輪廓，使之成為一種我們能夠切實感知、具有真實觸感的秩序狀態。
如今社會所面臨的許多問題，諷刺的是，也正是合理性、效率性等基於各自立場的「正確性」不斷累積、追求局部最優所產生的結果。正確性固然是強而有力的標準，但正如「合成謬誤」所揭示的那樣，即使個別層面都是正確的，疊加之後，整體往往反而會引發新的問題。環境問題和社會分裂，也未必出自誰的惡意，而往往正是許多懷抱善意的人所做出的「正確選擇」累積而成的現實。
而所謂的美，則是存在於要素之間關係協調、整體運作自然順暢的狀態之中的特質。它不僅體現在色彩與形態的平衡上，也體現在如何接納彼此衝突的價值，例如個人的熱情、組織的願景與事業性，現場的迫切現實與全球性的課題等。即使其中仍有不完美之處，只要整體沒有崩解、依然維持平衡，人就會本能地感受到其中的美。
如今，我們被要求面對的，已不只是能以數字衡量的「正確」，更是超越計量之後的協調品質，也就是美。聽到「美」，也許有人會覺得那只是感性的事物。但試圖塑造「美麗形態」的態度，並不只是審美上的取向，而是一種在包容矛盾的同時，細緻編織社會中柔韌秩序的態度。這一點，不論是「物」的設計，還是「事」的設計，都是共通的。作為重新整合那些彼此分裂的「正確性」的智慧，設計的力量正受到考驗。我衷心期待，能夠跨越領域，遇見那些真正具有觸感的「美麗形態」。
2026/3/12
點亮想像力的設計
那些靜靜存在著的事物，那些緩緩連結人與人的機制，真的能夠被分開來談嗎？放眼我們的社會，事物與機制始終交織在一起，被共同「設計」出來。正因為有了事物，機制才得以誕生；也正因為有了機制，新的事物才能出現。而在這些設計真正成形之前，從業者和企業都曾懷抱著對使用者的想像，投入漫長的時間。我想，正是這些不斷累積的嘗試與摸索，靜靜支撐著我們的社會生活。
70年來，GOOD DESIGN AWARD始終與日本社會中的經濟活動同行，並與各位報名者一起持續思考與傳達「設計究竟是什麼」。但在社會快速變化的今天，我們是否也有一些事物被忽略了，或是逐漸變得不可見了呢？我希望能將目光投向那些源於細微體貼的小設計，以及那些靜靜連結人與人的機制。近年獲得大獎的專案中，我感受到其本質性的「為了某個人」這一視角，呈現得愈發鮮明。在分裂與不安逐漸擴大的時代，不只是去關注眼前身邊的人，也要去想像那些尚未相遇的人。這也可以說，是從事設計相關工作的人所應具備的專業能力。
在此基礎上，我認為，今後GOOD DESIGN AWARD的角色，應當是一個讓我們停下腳步、重新審視當下設計能做什麼、不能做什麼的場域；是一個培育報名者彼此連結的場域；也是一座重新連結彼此的橋梁。期待在不斷嘗試這些新挑戰的過程中，能夠看見未來社會，並遇見那些已經開始萌芽的新經濟活動的微小徵兆。評審委員會全體成員，期待見到能夠在人與人之間點亮全新想像力的設計。
