After a long preparation period following the press release, Vogue Nippon launched on July 28, 1999. The cover featured a black-and-white photograph (photographed by Craig McDean) of Kate Moss and Japanese model Miki, emblazoned with the shocking pink title "Vogue Nippon." For those involved with fashion magazines, it was a moment filled with anticipation, as a new door finally opened. I excitedly turned the page, only to find a special edition of the Estée Lauder multi-page advert, complete with a message celebrating the launch. In the editor's letter, founding editor-in-chief Hiromi Togawa declared that in an era of increasingly borderless global boundaries, Vogue Nippon would serve as a bridge connecting Japan and the world. As an editor, I was most curious about the staff behind this magazine. While a staff list would normally be found at the beginning of a Western magazine, here, in keeping with Japanese customs known as a colophon, it was at the end. Among the Japanese were foreigners. The creative director, who had a say not only in visuals but also in editorial content, included Debbie Smith, who came from Vogue Spain; Jean Clair, international fashion director, who served as Jonathan Newhouse's trusted adviser at Condé Nast International (which owns Vogue Nippon); and Andy Whelan, who booked overseas photographers and stylists. The staff list included 49 names, including the chairman, president, and other new staff members. Rumors circulated that meetings were held entirely in English, but it seems more accurate to say that meetings included some English. However, with so much interaction with overseas parties, English was essential. The June 1999 issue of "Design no Genba" (Bijutsu Shuppan) featured photo direction and included an interview about the creative side of Vogue, one month before its launch. Editor-in-Chief Togawa believes that it is important for Vogue Nippon to showcase style, but that style is not superficial. Clothes and makeup are used to express a woman's inner self, and photographers who are sensitive to that image are instrumental in bringing it to fruition. He says that a great deal depends on the creativity of creators in each genre. Creative Director Debbie Smith describes the Vogue woman as someone who shares the spirit of Vogue regardless of age, strong-willed, a little aggressive, yet also sexy. She also describes photo direction as a chemical experiment, saying that the combination of photographer and stylist can sometimes result in unexpected chemistry and amazing work. By photographers, she is referring to the few dozen photographers and stylists working for UK, Italian, and Paris Vogue (US Vogue is an even more special case, and by contract, they are not even allowed to work with other Vogues). In fact, the inaugural issue featured a cover shot by Craig McDean, and the core page of the issue, known as "Well," featured photographers Satoru Shichiku, Paolo Roversi, and Nobuyoshi Araki, all active at Paris Vogue.
When asked about her impression of Japanese photographers, Debbie Smith said, "They have the skill and dexterity to handle anything, but only a few, like Araki and Hiromix, have style." Her words have greatly inspired young Japanese photographers aiming for the world stage.
*Hiromi Togawa is currently editor-in-chief of 25ans and Richesse, published by Hearst Fujingaho.
Reference: The Design Site (Bijutsu Shuppan), June 1999 issue
Continued on 3/12.