Non•no vs. CanCam: Girls’ Girls vs. Boys’ Girls
Non•no faced a rough lead-up to the 21st century. From a peak circulation of 971,020 in the second-half of 1995, the famed biweekly female fashion magazine bled readers until reaching 324,736 in the bottom of 2005 (Audit Bureau of Circulation figures). After adding Tanaka Miho (田中美保) as mascot model in early 2006, however, Non•no appears to have stopped the readership hemorrhaging and has successfully moved back up to a 440,870 circulation (2007 printer-certified). The June 22 copy of daily fashion newspaper Senken Shimbun featured the front page article “Feminine & Layered: Young Brands are Recovering,” citing Non•no‘s revival and Tanaka’s popularity as key reasons behind the increased sales of young women’s casual brands.
Thanks to the tried-and-true technique of using senzoku models to create relatable personages who represent the magazine, Non•no has again become competitive to the “red-letter” (赤文字系) magazine genre represented by CanCam, JJ, and Ray. While the Non•no average reader age does not differ much from that of CanCam, the former attracts a broader range of readers than the narrow band of college students and OLs who read the latter. According to Senken, the brands featured in Non•no still attract women in their 30s who enjoyed a similar style of layered street fashion in the 1990s.
In terms of content and editorial, however, there could not be a wider gulf between the two magazines. Non•no has no clear overarching narrative in the way that the serious pursuit of an affluent boyfriend/husband underlies every single page of CanCam. There are almost no references to boys in an entire issue of Non•no. For example, two of the main Non•no models visit Disneyland in the July 5 issue for an advertorial spread as a pair — rather than on a date. Overall, the contents of Non•no tend to create a private consumer world for young women where boys, occupation, and social pressure do not intrude.
This sets the tone for the fashion pages: Non•no mostly concentrates on “cute” but ultimately casual outfits, where skill is demonstrated through a mastery of complex layering techniques. The CanCam buzzword “elegance” is not an appropriate descriptor. There is a total lack of European luxury brands in Non•no, which almost seems to protect readers from such adult issues as social status and socioeconomic class. If CanCam is about the proper ascent into adulthood, Non•no is about the quiet avoidance of growing up. All in all, the editors of Non•no seem completely unconcerned with advising their readers on how to conform to the standards and tastes of other parties, organizations, or individuals. Girls just want to be girls. Wardrobes don’t fulfill functional roles of work or love — they just are fun.
Tanaka Miho perfectly embodies this more nonchalant and personal approach to fashion and lifestyle. She may not top the lists of Japanese men’s favorite model, but she is not positioned for such competition. She’s a girl’s girl. If Ebihara Yuri from CanCam represents the “perfect embodiment of Japanese men’s desires,” Tanaka Miho is the standout “every girl” who is cute in her “everyday way.” The Non•no look is often described as “feminine” — but this suggests “female-consumed ideas of femininity” rather than a construct for men’s desires. CanCam readers imitate Ebi-chan in their aspiration to reach her powerful levels of attractiveness, but Non•no readers gain self-confidence and respite from seeing Tanaka Miho’s unassuming charm as one close to their own.
This article originally appeared on the Diamond Agency blog clast.