"When we first launched, we followed the Western editorial style and asked freelancers to work on the magazine, with only credits and no fees. However, I think this was because Japan has so many magazines and it's possible to make a living just from editorial work, and the Western style didn't work. So we decided to shoot overseas, and Nick Knight and Ellen von Unwerth both shot the magazine, and they were okay with coordinating a mix of brands (in Japan, it's a general rule to shoot with outfits that follow the lookbook)," says Togawa.

From the start, advertising was strong, and by using lift (translated articles from the US edition) and other methods to cut costs, the magazine was profitable from the first issue. Producing a magazine costs tens of millions of yen, and without cash flow, it can't survive. The solution was solid advertising revenue. While the president and editor-in-chief often have conflicting ideas, Togawa's ability to fulfill both roles ensured that there were no conflicts. As I listen to his story, I notice his unique intuition and magic in everything he does.

One such example is the turning point for Nylon Japan, when it shifted to creating a magazine aimed at Japanese women. Nylon Japan was a licensed publication, but it had a solid policy that made it a successful business.

"About four years after its launch, we moved away from the concept of fashion and focused on street fashion. We wanted to become No. 1 in Shibuya and Harajuku. First, we switched to using half-Japanese and half-Japanese models, and reader reaction clearly changed, and we felt we were on the right track."

Most Japanese fashion magazines feature foreign models. I've heard editors from the UK edition ask me several times why we don't use Japanese models. Each time, the answer I got was that foreign models tend to look better in clothes than Japanese models, or that visuals are ultimately a matter of image, so there's no need to stick to Japanese models.

Understanding the conventions of licensed magazines, Nylon Japan chose Japanese or half-Japanese models to engage readers and create a scene for them.

"Even though it's a licensed magazine, there's no point in simply copying the original Japanese edition. The original Japanese edition features models from backgrounds similar to those of the readers in that country, so it resonates more with them. I thought that in order to achieve this, we needed to create a different style of ViVi, otherwise it wouldn't be considered successful," Togawa stated firmly.

The August 2010 issue, featuring Kiko Mizuhara on the cover, marked the launch of Nylon Japan, a magazine that creates a scene for readers. Kiko Mizuhara had appeared in Nylon Japan several times before signing an exclusive contract with ViVi, but she returned to the magazine and appeared on the cover again around 2010, around the time of her acting debut in the film Norwegian Wood. Yui Aragaki, Kaela Kimura, and Imaru also drive the image of Nylon Japan. These women wear both luxury brands and popular brands from 109 and Laforet. Togawa's meaning of "creating a scene for readers" gradually becomes clear. Readers perfect their own style by experiencing what Kiko Mizuhara and Yui Aragaki see and feel in the pages of the magazine. Nylon Japan functions as a factor in this. Foreign models and celebrities, due to their different living environments, tend to be a pipe dream. Magazines used to serve as a guidebook, inviting readers to an ideal world they could possibly achieve. However, in an age where information is readily available, their role has shifted from being half a step ahead to "getting empathy = creating a scene" by closing the gap with readers. 3/11 -- Continued from Nylon Japan's digital communications.