News And Projects
VIVIENNE WESTWOOD X NANA - In Conversation with Ai Yazawa
13/11/2025 — Vivienne Westwood
Since its inception, NANA and Vivienne Westwood have shared an enduring reverence for self-expression — a realm where style becomes an extension of character. Following the release of the limited-edition collectible NANA cover, the house reveals an exclusive capsule collection, in celebration of the 25th anniversary of the cult manga series. “For me, fashion has always been central to storytelling,” expresses NANA creator Ai Yazawa. “Since manga can’t produce sound, fashion becomes an important tool to express it visually.” From the earliest chapters of NANA, she drew inspiration from Westwood’s designs — “Almost all of the pieces came from my personal collection” — translating them into her own storytelling. “Rare Seditionaries items were recreated from photographs, ensuring every detail matched the characters’ movements,” she recalls. The collaboration highlights the personalities of the two characters. “Nana is the type who always wears Vivienne with confidence, but I sensed Hachi might be a bit nervous”, Yazawa explains. Red tartan, corsetry, and leather chokers embody Osaki’s fearless individuality, while pastel tones, pearls, and delicate prints reflect Komatsu’s warmth and vulnerability. Reflecting on the collaboration, Yazawa says, “This project rekindled the same sense of inspiration and joy.” She sees it as a continuation of the dialogue between fashion and storytelling, that has always defined her work. In her own words, “These values resonate across generations of fans.” Even twenty-five years later, NANA continues to inspire creativity. “Readers form bands, explore manga, and embrace their own self-expression,” she observes. Through this collaboration, Vivienne’s reimagined designs and Yazawa’s resonant characters reunite — in what she calls “A punk love letter that honours the past, present, and future of NANA.”
"Vivienne has always been, and still is, the creator I respect most"
— Ai Yazawa, Creator of NANA
Read more from our conversation with NANA Creator Ai Yazawa, as she offers a rare glimpse into her creative world.
How did you come up with the initial story of NANA? Did it begin from a fashion standpoint, or from your love of punk?
AY - I’ve always loved music, and I had long wanted to create a story about people involved in it. Since manga can’t produce sound, fashion becomes an important tool to express it visually. For me, drawing a punk band and drawing Vivienne’s clothes could not be separated. I believe that music and fashion have always been deeply connected, no matter the era.
Did you ever draw from Westwood items you personally owned or had access to?
AY - I’ve loved Vivienne’s clothes even before drawing NANA, and I had been collecting them, so almost all of the items that appear in the manga are from my own collection. Since I had to draw real items from various angles to match the characters’ movements, I needed to observe the actual pieces to capture the details accurately. However, Seditionaries pieces are very hard to obtain, so there are a few items I had to draw relying only on photos for. I Apologies if I got anything wrong.
Were any parts of NANA inspired by events or emotions from your own personal life?
AY - I don’t usually depict my experiences directly, but I do sometimes incorporate things I’ve lived through, like seeing a big fireworks display from the window of my riverside apartment or getting a front-row seat at a concert of a band I loved, into other scenes. Beyond that, I think the emotions I’ve gained from all kinds of life experiences are reflected in the story, just in different forms.
As we are now celebrating the 25th anniversary of NANA – how do you feel with the manga still being such a huge phenomenon? Considering both the fans who first discovered it 25 years ago, and the new generation of fans today?
AY - Honestly, I’m surprised. Even though the series has been on hiatus for such a long time, I’m filled with a sense of gratitude beyond words toward the readers who have continued to support it, along with a feeling of guilt for making them wait. I’ve always believed that, even as times change, human emotions themselves don’t change much and being able to have my work continue to be read is one of the greatest joys an author can have.
What were your impressions when you first heard about the collaboration?
AY - It felt like a dream — an honor beyond words. Vivienne has always been, and still is, the creator I respect most. Back when NANA was being serialized, I once received a personal message from Vivienne herself through a magazine interview. Her words were incredibly encouraging and truly saved me when I was feeling exhausted. Although I’ll never get the chance to speak with her again, this collaboration has once again given me that same uplifting feeling. I’m deeply grateful to everyone involved in this project. Thank you so much.
What did you focus on when drawing the new illustration?
AY - For this illustration, I was given very specific direction: “The two are walking down the runway wearing pieces from this collaboration lineup.” However, I felt that drawing the audience too realistically would make the composition look cluttered, so I intentionally treated them abstractly to let the characters and clothes stand out more. Nana is the type who always wears Vivienne with confidence, but I sensed Hachi might be a bit nervous — so I was careful not to make it look like she was simply “wearing borrowed clothes.” The collaboration items were designed to match the images of Nana and Hachi, and seeing them actually wearing them suited them both perfectly — it made me so happy, and I think they themselves would be the happiest of all.
After seeing the lineup of collaboration items, do you have any thoughts or favourites?
AY - I was overwhelmed with emotion. When I first saw the lineup documents, I was so moved that I actually cried. Each of the items inspired by Nana and Hachi’s image is wonderful — and when I saw the pink and checkered Rocking Horse Ballerinas, they were so cute I literally screamed. Personally, I was also thrilled that there were reissued items included — just the thought of being able to wear my beloved, worn-out Milky Way T-shirt again makes me so happy. As for the Giant Orb Lighter Necklace, I’ve often heard fans say they wanted one, so I’m sure they’ll be delighted. It’s a perfect, all-encompassing lineup. Truly, thank you so much.
What do you consider NANA’s legacy to be, and how do you see it living on in future?
AY - That’s a difficult question. I can’t objectively analyse my own work to that extent, but if I had to say, perhaps it’s that NANA was accepted by a wide range of readers — even by those who usually don’t read shoujo manga. If the story helped even one more person discover how fun manga can be — maybe inspiring them to read more manga, to try drawing manga themselves, or to carry on manga culture in some way — I’d be very happy. And when someone tells me, “I started a band because I admired the girls in NANA,” it really makes me feel glad I created it. Even if it’s not something huge, I hope that positive chain reactions will continue in many forms among those who read it.
