It was during the collection period, shortly after Kyoko Tanaka decided to take on the role, that she first met Babette Gien, editor-in-chief of the French edition of Numero. "Who are you? I had no idea you'd been appointed editor-in-chief. I signed the contract because you were going to publish a translated edition!" she exclaimed in a fury. Suspecting there was some misunderstanding, she consulted with Izumi Ogino, creative director of Anteprima, who was close to Babette, and she arranged a lunch meeting. Even there, Babette insisted, "I won't let anyone touch Numero, the one I created!" The French edition of Numero was a top seller among overseas fashion magazines in Japan. "I have no interest in just translating Numero! Besides, if you publish a translated edition, your French edition won't sell!" Editor-in-chief Tanaka reportedly retorted. While many Japanese people say "yes," Babette was intrigued by a Japanese person who could say "no," and for the first time, she opened up to Tanaka.

We decided to take an editorial stance similar to that of Vogue, never lifting (reprinting) and sticking to the original. We were well aware that lifting the French edition would make it seem increasingly like a translation and would result in the magazine becoming a second- or third-rate publication worldwide. Initially, to avoid conflict with Babette, we decided not to lift it, but to consult with them about staffing such as photographers.

After overcoming numerous obstacles, Numero TOKYO was launched in February 2007.

Fashion magazines tend to alienate their readers, with a sadistic side that requires only those who are willing to stick with them to buy. A magazine can thrive if readers find it interesting, but without even the slightest hint of friendliness, it will not see strong circulation. Advertisers are also not inclined to become close only to edgy fashion magazines.

After the Lehman Shock of 2008, all publishing companies were forced to reassess their editorial policies, which ignored expenses. At the time, no company was able to predict the future and was groping in the dark. This happened about a year and a half after the magazine's launch. Numero Tokyo was also told to cut expenses. Since the magazine's launch, it hadn't worried about the numbers, so naturally, it began to review all expenses.

Around the fall of 2009, Editor-in-Chief Tanaka said, "We began shifting to an editorial approach that was closer to Japanese readers." They began using Japanese models, and the editor-in-chief himself began styling the main fashion. As a result, the magazine was recognized as being carefully produced, clients praised it, and advertising revenues increased every year compared to the previous year. When asked about the relationship between the magazine and Editor-in-Chief Tanaka, she said, "I think Numero Tokyo = Kyoko Tanaka. Right now, I don't think there's anyone else who can create this book, and unless the company announces its closure, even if other magazines approach me, I don't think they'll be able to... I'm sure I'll continue to create Numero Tokyo as Editor-in-Chief." In Japan, there are few magazines where the editor is prominent. Even if someone mentions "Mr./Ms. XX of XX magazine," it's rare to hear of "XX magazine by XX magazine." Even if the editor-in-chief changes, the XX magazine continues to be published as if nothing had happened. Without Kyoko Tanaka, Numero Tokyo would practically not exist. In the fashion world, Kyoko Tanaka is sometimes likened to Carine Roitfeld, former Editor-in-Chief of Paris Vogue. This is likely due to their shared careers, such as their careers as stylists and editors-in-chiefs, and their charisma as fashion icons.

Continued from September 12th. Unraveling Harper's Bazaar