Unpacking the Controversial Vivienne Westwood x Nana Collab
- Amara Johnson
- Jan 28
- 8 min read
The collaboration, over 25 years in the making, proves that nostalgia itself isn’t the problem — it’s how we choose to handle it.
The long-awaited official collaboration between fashion house Vivienne Westwood and Ai Yazawa’s cult shōjo manga Nana (stylized as NANA) has finally arrived — but not without controversy.
From confusing rollout logistics to limited stock and simplified designs, die-hard fans criticized the capsule collection as “nostalgia bait”. Is this collection really a cash grab or something more culturally complex?
THE GOOD
As part of the anniversary campaign, Vivienne Westwood sat down with Nana creator Ai Yazawa for a rare interview, offering insight into Yazawa's creative process, influences, and motivations. Yazawa is historically private and has seldom spoken publicly since an unspecified illness delayed the completion of Nana in 2009.
Nana is a popular Japanese manga and anime series, first serialized in the early 2000s by manga magazine Cookie. It gained a cult following thanks to its unique illustration style, compelling plot, memorable characters, and iconic fashion pieces. In addition to the manga, the series inspired an anime adaptation, two live-action films, video games, and several tribute albums.
The plot centers on two women, both named Nana, who meet by chance on a train to Tokyo. They quickly find their lives and ambitions intertwined. Nana Osaki, an aspiring punk rocker, is the heartbeat of the story — and she is often adorned in stylish Vivienne Westwood pieces that symbolize her musicality and confidence. She is determined to bring her punk band, the Black Stones (aka BLAST), to the top of the music industry and chart her own path as a musician.
Alternatively, Nana Komatsu (affectionately known as Hachi) struggles with self-discovery and undergoes aesthetic changes throughout the series. She seeks her purpose, often feeling lost or unfocused, and ultimately seeks validation in relationships that don’t always put her first. Hachi becomes the support system for Nana O.'s band, that is, until an unexpected romance threatens to break everything they have built.
Their style journeys reflect not only their ambitions but also their uncertainties and hesitations — an element Yazawa mentions in her interview.
“For me, fashion has always been central to storytelling,” Yazawa explained. “Since manga can’t produce sound, fashion becomes an important tool to express it visually.”
Before creating Nana, Yazawa studied fashion at Osaka Mode Gakuen and eventually left school to pursue her true passion: becoming a mangaka. Her reflections during the interview with Westwood revealed just how integral fashion was to Nana's story and reinforced what fans have always known: Nana’s use of style was transcendent. Yazawa used fashion not just for aesthetics, but as a metaphor for each character’s personal transformation.
“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,” Yazawa added. “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.”
Her punk-inspired aesthetics, rooted in the Japanese subcultures of the 90s and early 2000s, influenced an entire generation of readers. This collaboration with Westwood, at least conceptually, felt both emotionally and artistically aligned.
The collection featured thoughtful details, such as reinterpretations of the Armour Ring with Yazawa-inspired illustrations etched on the inside panels. The Armour Ring is featured extensively in Nana and is a signature piece worn by Nana O.
The collection also featured red pieces, such as the Stormy Jacket and Puppy Corset, which can be seen as a subtle nod to Nana O., given her strong association with red clothing throughout the series.
Abandoned by her mother at four, Nana O. was raised by her grandmother, who discouraged her from wearing red and pink clothing, as they were seen as tempting to men. Her grandmother used this restriction in a warped form of protection — keeping Nana from following the path of her mother and having a child out of wedlock or otherwise making life choices her grandmother deemed as dishonorable.
After her grandmother dies, Nana wears a red dress — also known as the Happy Berry dress — in an act of defiance (and freedom). For this reason alone, pairing red clothing pieces with Nana O. grounded the collection in the manga's original visual language.
Personally, I would have liked to have seen Westwood’s interpretation of the Happy Berry dress in the collection. It is a significant outfit in the series, not only for the plot points mentioned earlier, but also for its role in sparking Nana’s relationship with Ren—her love interest and rival throughout the series.
The capsule also featured familiar favorites like the Rocking Horse Ballerina shoes and gave popular pieces — like Nana O.’s pendant orb necklace — official recognition by virtue of the collab, satisfying a need that unofficial cosplay versions had been filling for years, often for thousands of dollars.
But most importantly, the collaboration introduced Nana to a broader global audience, solidifying its fashion status and extending its cultural legacy into wider circles of fashion and pop culture. But that expansion wasn’t without its costs.
THE BAD
Where the collaboration excelled in concept, it fumbled logistically. The rollout was undoubtedly messy.
Though positioned as a 25th-anniversary celebration, the collection launched nearly six months after Nana’s official publication anniversary on May 15. On October 6, Vivienne Westwood posted a reel on their Instagram teasing the collaboration with no mention of individual pieces or styles. Two weeks later, Yazawa posted on Instagram, announcing the 25th anniversary edition of the manga set for release on October 31—with no clear connection or mention of the capsule collection.
On November 12, Vivienne Westwood continued teasing the release with an Instagram Reels post featuring the updated manga set and the caption “Almost time…”. There were no teaser posts on Facebook, and their X account has been largely silent since 2024.
The next day, November 13, the house announced on Instagram that items would be available at 10 a.m. “local time” at their boutiques. Yet, many fans discovered the pieces had already gone live online on November 12, with several items selling out within a few hours.
“I'm in the U.S., and for some reason I can see it all uploaded and even shop, though I was under the impression it was dropping tomorrow. Sadly, multiple pieces are already sold out,” one Reddit user wrote.
“I signed up for the newsletter and didn’t even get notified when it dropped. They really messed up the release; literally no one had a chance with how bad the organization was for the drop,” another Reddit user wrote.
Beyond logistics, some fans criticized the design choices, like (presumably) Hachi’s Mini Sunday Dress and Nana’s Cigarette Trousers, for feeling oversimplified and geared toward mass appeal.
In the manga, Nana O. continually layers her outfits, sometimes mixing patterns and silhouettes, and maximizes her creative expression through distressed layered tees, belts, pyramid-studded bands, and other punk accessories. By contrast, the Cigarette Trousers felt plain.
On the other hand, Hachi is always changing her look to fit a new job or to reflect a new stage of her life. As a high school student, Hachi’s look was reminiscent of the early gyaru/kogal style, with loose socks, loafers, cellphone charms, and other accessories to individualize strict school uniforms.
As the series progresses, Hachi’s looks change. She sometimes mixes vintage pieces from the ‘50s and '60s (think Holly Golightly in Breakfast at Tiffany’s), and at other times, Hachi dips into coquette or Y2K styles. It is understandably difficult to adapt to such a varied style profile, but some fans felt that more options should be available that better evoke Hachi’s range of taste.
There was also artificial-scarcity-fueled frustration, particularly for high-demand items like the Giant Orb Lighter — modeled after Shin’s signature piece (but not in the iconic silver finish popularized in the manga) — that were limited to just 250 units worldwide.
Price was another sticking point. The Giant Orb Lighter, for example, retailed for nearly $1,800, and many fans criticized the use of brass instead of gold in the jewelry items.
And yet, despite these missteps, the collection largely sold out.
THE ENDEARING
When asked her thoughts about Nana’s enduring legacy, Yazawa said during her interview with Vivienne Westwood:
“I’ve always believed that even as times change, human emotions themselves don’t change much. Being able to have my work continue to be read is one of the greatest joys an author can have.”
Her answer, in part, illuminates the reasons behind the collab selling out despite its downsides: emotional resonance.
Nana shines because of its ability to communicate the exciting yet fleeting years of early adulthood. The playful mixing of styles. The rush of firsts while setting out on your own. It taps into that expansive feeling of possibility while also delivering the cold clarity of consequence. Each character in the series has an opportunity to grow from their past or choose to repeat it.
This emotional resonance, paired with the stylish visual branding behind Nana, is a key factor in the collection’s success despite its criticisms. There’s also another element at play — the recent resurgence of early-2000s nostalgia.
According to Archrival, 59% of surveyed Zoomers say they’d most like to live in the early 2000s because of its culture and entertainment. Brands recognize this selling point and are capitalizing on it: Hollister launched a dedicated Y2K capsule, Aéropostale now highlights an entire Y2K section online, and Coach’s resurgence has been fueled in part by revivals of its classic leather and Soho-styled bags. But just because nostalgia sells doesn’t mean it feels authentic.
THE MEANINGFUL
For nostalgia to feel authentic, brands must do more than replicate past designs — they need to reinterpret what made them desirable, tap into current cultural moments, and innovate. Some brands are doing this well.
Gap’s collaboration with designer Sandy Liang reimagined ’90s and early-2000s essentials through her personal lens and Cantonese heritage. The result? A fun, unique, and refreshing collection that actually felt like a personal tribute to the 2000s.
Similarly, ONE OF, an atelier specializing in deadstock and historical garments, transforms archival pieces into bespoke designs that honor their history while giving them new life. Both of these examples demonstrate that thoughtful, intentional reinterpretation — not mere replication — is what makes dipping into the past meaningful rather than exploitative.
And perhaps that’s the real lesson behind the Vivienne Westwood x Nana collaboration: nostalgia itself isn’t the problem. It’s how we choose to handle it.
FINAL THOUGHTS
Despite drawing criticism for price point, a messy rollout, and certain design choices, the Vivienne Westwood x Nana collaboration helped solidify the series' fashion status, expose it to new audiences, and create buzz around its anniversary, which is invaluable.
It will be interesting to see how future capsule collections from this collab (now with the benefit of fan feedback) perform and which key pieces from the series come to light.
One takeaway brands can have from this collab is the importance of integrating culture, context, and history when working with artists or legacy IPs. It can’t just be about aesthetics or hype — it needs to be personal.
After all, works like Nana create more than nostalgia. They define generations. They create moments that unite people across time.
As Nana once said, “People can't be just tied together. They have to connect.” 🌀
Amara Johnson is a writer based in Philadelphia, PA. When she’s not writing, she’s reading or scrolling through Pinterest for style inspo. She loves finding the story in everything.
