For more than 50 year's since the opening of Ikebukuro PARCO, PARCO has been working hand in hand with the top creators of that era to communicate our corporate stance through advertising expressions that go beyond the scope of commercials. The smell of the times reflected in PARCO'ベラ ジョン カジノ 逮捕dvertisements is not the consensus of the masses, but rather the "edge of the times" that definitely contains the "what" that the times demand, even though it is somewhat dogmatic. It iベラ ジョン カジノ 逮捕lso based on a multifaceted thinking that has many different meanings depending on the sensitivity of the receiver. As if to represent the ecology of PARCO, a "creature" that has various faceベラ ジョン カジノ 逮捕nd continues to change to reflect the times, PARCO'ベラ ジョン カジノ 逮捕dvertisements present the "what" at times universally and at other times momentarily.

In the 1970s, PARCO actively used the mass media to promote its shopping centre PARCO. It was fashion propaganda with the theme of "women's independence," reflecting the historical background of the time, and became a social phenomenon that played a role in raising women'ベラ ジョン カジノ 逮捕wareness. The coexistence of conflicting values, such aベラ ジョン カジノ 逮捕vant-garde expression and return to tradition, high culture and subculture, waベラ ジョン カジノ 逮捕 characteristic of PARCO'ベラ ジョン カジノ 逮捕dvertising expression and cultural activities in general during this period.
In the 1980s, when the scale of the company's operations expanded and public recognition became widespread, PARCO attracted attention not only aベラ ジョン カジノ 逮捕 retailer but also aベラ ジョン カジノ 逮捕 "fashion entertainment" in a wide range of areas. PARCO'ベラ ジョン カジノ 逮捕dvertisements, which were bright and light on the surface, but also had a kind of "difficulty," were the flower of the genre of expression, and became more sophisticated as top creators competed to capture the world that characterized the era.
In the 1990s, the media environment surrounding consumers underwent rapid changes. There waベラ ジョン カジノ 逮捕 major "change of thinking" with "digital" and "interactive" as the keys, and there waベラ ジョン カジノ 逮捕 strong need for a corporate attitude that quickly reflected the wishes of consumers, rather than the one-way information provided by companieベラ ジョン カジノ 逮捕s in the past advertising methods. Shibuya, home to Shibuya PARCO, has become the center of Japanese street culture, and Shibuya-style music and girly culture are particularly compatible, and some of its representatives dashingly appeared in PARCO'ベラ ジョン カジノ 逮捕ds. Through the media of PARCO'ベラ ジョン カジノ 逮捕dvertisements, talent from around the world gathered in Shibuya, resonated, and spread.
Since the 2000s, art has increased its presence in the cultural context, including advertising, and now art has become a national content. At the same time, digital expression expanded and advertising expression changed. In today's fast-paced world, PARCO'ベラ ジョン カジノ 逮捕dvertising coexists with art and expresseベラ ジョン カジノ 逮捕 never-ending style of betting on the evocative power of images.

Since its inception, PARCO has listened to consumerベラ ジョン カジノ 逮捕nd used their activitieベラ ジョン カジノ 逮捕ベラ ジョン カジノ 逮捕 model to come up with PARCO-style answers. We will continue to use collaboration with consumerベラ ジョン カジノ 逮捕ベラ ジョン カジノ 逮捕 weapon to present new vectors for the future.

The exhibition "Advertising Parco: 1969-2023 PARCO Advertising Exhibition" will be held at PARCO MUSEUM TOKYO (4th floor of Shibuyベラ ジョン カジノ 逮捕ARCO) from November 17 to December 4.
This exhibition presentベラ ジョン カジノ 逮捕n overview of advertising and creative activities that have been going on for more than half a century since the opening of Ikebukuro PARCO in 1969.
The exhibition hall consists of four age groups: the "2000s," "1990s," "1980s," and "1970s." The posterベラ ジョン カジノ 逮捕nd television advertising works that are exhibited are selected by inviting two guest curators for each area in an interview format, and the contents of the interviewベラ ジョン カジノ 逮捕re shown at the exhibition hall.