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NANA (2006-2007)1 was adapted from the manga by Ai Yazawa in 2000, and although the anime concluded, the manga has been on hiatus since 2009. The anime garnered attention for its realistic portrayal of Japanese punk culture in the early 2000s, drawing inspiration from innovators like The Sex Pistols and Vivienne Westwood. The anarchic lifestyle was reflected in the characters’ core, ultimately emphasizing the importance of compensating for one’s mistakes.
The story centered on the lives of two women in their early twenties, Nana Osaki and Nana Kotmasu, as they attempt to settle in Tokyo. Despite coming from different backgrounds, they shared the same name and age, and their contrasting personalities and values complemented one another. Their friendship became the driving force of the story — one about womanhood and the complexities of navigating society.
It was a subtle shout-out to women’s empowerment in their early to mid-twenties, accurately reflecting the sacrifices and mistakes that are unavoidable when trying to survive in conservative Japan while defying traditional gender roles. The story also pointed out that everyday life had more depth than romance, and that mistakes were expected, but what truly mattered was knowing how to take responsibility as an adult and not hiding underneath inevitable weaknesses.
“Japan In The Early 2000s” — Culture, Youth & Change
In Japan during the early 2000s, young women, particularly in Tokyo and Osaka, experienced financial difficulties.2 Married women were expected to adhere to traditional roles, like managing their households and having children. They also faced significant pressure to remain composed and conservative to avoid societal judgment.
Media and entertainment were significant aspects during the 2000s, as the rise of technology changed Japan socially and culturally, fostering new habits and friendships never seen before. The younger generation gave rise to the latest fashion styles, such as streetwear, which were rooted in Western styles. This also incorporated technology found in new phones, including features that were both foreign and helpful, leading to greater flexibility in traditionalism and the adaptation of work customs.3
Furthermore, major changes in Japanese culture were shaped by Western influences.4 It was evident in the adoption of Western street fashion, the incorporation of English into music — such as J-pop — and the use of instruments associated with genres often linked to American life and culture, including punk rock and heavy metal.
A significant influence on punk culture in Japan was the English band, The Sex Pistols, formed in London in 1975. The group consisted of vocalist Johnny Rotten, guitarist Steve Jones, drummer Paul Cook, and bassist Glen Matlock. However, in early 1977, Matlock was replaced by Sid Vicious after being fired over creative differences.
The band quickly became known for its aggressive, erratic sound, which symbolized the instability and resentment of young people toward socialism and the economic conditions in their country. The Sex Pistols, with songs like “God Save the Queen,” tore into Britain’s monarchy to highlight unfairness, helping people feel heard and understood.5
God save the queen
She’s not a human being
There is no future
In England’s dreaming
Initially, they aimed to spark a social shift in their hometown and, eventually, in other countries, including Japan. Their career was short-lived, but through their musical, cultural, and social impact, they broke out from traditional expectations. When designer Vivienne Westwood entered the spotlight, a new era of rebellion and feminism transformed the world’s perception of punk culture altogether.
Vivienne Westwood & Punk As Feminist Rebellion
Vivienne Westwood became recognized as a revolutionary British fashion designer who helped define punk culture’s influence on fashion in the late 90s to early 2000s. She lived an ordinary life as a teacher until she decided to defy traditionalism and make a living from her designs. Her pieces conveyed messages about social issues and youth culture that eventually became part of the punk fashion aesthetic.
Most importantly, she was the mastermind behind The Sex Pistols’ signature look, which was comprised of leather, ripped pieces, and even more distressed accessories. She believed clothes were a way to express herself, share ideas, and speak out against oppression. It was the primary conviction she shared with the band.
In NANA, Vivienne Westwood’s fashion is a staple that becomes ingrained in each of the characters’ identities. To viewers, it becomes unclear why this aspect is important and why the specific designer’s clothing is significant to their lives.
In episode four, Nana Osaki was abandoned by her mother at a young age, and her grandmother took care of her until she passed away.6 She turned to music and found friendship and love whenever she joined the original Black Stones, a band formed with Ren Honjo, Nobu Terashima, and Yasushi Takagi.
In most of her flashbacks, before meeting the band members, she is seen wearing neutral and conservative clothing that adheres to Japanese cultural standards. However, as time progresses, her style evolves to reflect her breaking away from expectations and leaning toward the Vivienne Westwood message of fighting against societal corruption and oppression.
Female characters did not solely enforce Vivienne Westwood’s message. Characters like Shinichi Okazaki are seen wearing lighters from Westwood’s collection to emphasize a message of an all-inclusive battle against traditional norms and breaking free from societal pressure.
The story centered on the band’s success was a method to bring light to a cause relatively common to conservative countries like Japan. However, Nana’s story also had themes that went back into the foundation of friendship and womanhood in early 2000s Japan. This message provided more than comfort; it employed an intricate and relatable story to illustrate the consequences of actions and the importance of accountability.
Friendship & Accountability In NANA — The Real Heart Of Womanhood
Nana Osaki and Nana Komatsu first met on a train en route to Tokyo. After sharing a deep and personal conversation, they got off the train and lost contact as they continued on their separate paths.
They later reunited while looking for an apartment to rent, a catalytic meeting that led to a friendship that gradually blossomed into a tight-knit connection. Even so, from other perspectives, the show could have romantic undertones, depending on one’s expectations for the story.
As the story progresses, viewers can begin to identify their individual flaws and strengths, some of which are relatable, while others are not. Nevertheless, as other characters join the central group of main characters, viewers can deduce that the story about friendship is much more valuable and concrete than the one surrounding romantic relationships.
An irreversible mistake occurs in which Nana Komatsu (Hachi) is given the choice between love and taking accountability for her wrongdoings. Viewers criticized the choice, which focused on the romantic aspect of the anime. However, the unexpected twist brought a worthy message to young people, women, and men alike, highlighting what drives choices and motivates fixing mistakes for the greater good of others.
The formidable inspirations of the anime: Vivienne Westwood and The Sex Pistols, embody the acts of rebellion against conformity in traditional roles and expectations in society. However, Ai Yazawa’s work shows that, even with social justice, accountability remains just as crucial in defiance.
NANA & Ai Yazawa’s Plan For The Future
As of today, the manga for NANA has been on hiatus for over a decade, since 2009. It is unclear when Ai Yazawa will resume the work that captured fans’ hearts. Through its social impact, NANA followed a trajectory similar to that of Vivienne Westwood and The Sex Pistols.
The work reinforced the belief that traditionalism can be broken and change is possible, but accountability should not be ignored.
Footnotes
- NANA (2006-2007). Ai Yazawa, Morio Asaka, Toshio Nakatani,
Manabu Tamura and Masao Maruyama, creators. Madhouse. Hulu, April 05, 2006-March 28, 2007. ↩︎ - French, Howard W. “Women Win a Battle, but Job Bias Still Rules Japan.” The New York Times. February 26, 2000. ↩︎
- “Nomikai Culture in Japan: From Tradition to Transformation.” Zentern Internships. Accessed on December 06, 2025. ↩︎
- Igarashi, Akio. “‘Americanization’: An East Asian Perspective.” Social Science Research Council. March 26, 2004. ↩︎
- Clayton, C. “Anarchy in the UK: The Legacy of the Sex Pistols.” Brit Music Tours. March 27, 2023. ↩︎
- NANA. Episode 04, “Nana’s Love, NANA’s Dream.” Hulu, 14:00-15:45. April 26, 2006. ↩︎