Japan: The Country That Captivates MONOCLE.

The second installment of this column, which shines a light on Japan's inherent hidden strengths and appeal and explores them through dialogue, features Fiona Wilson, Asia bureau chief of the global magazine MONOCLE. Having lived in Japan for over 12 years, she has met many people and experienced various cultures through her reporting throughout the country. We asked her about the appeal she sees from a foreigner's perspective and about "Japan" as seen through the lens of MONOCLE, a magazine that reports and edits stories from around the world.

The spark of interest was Japanese architecture

Nakai: What brought you to Japan, Ms. Wilson?

Wilson: I studied history at Oxford University as a student. Later, while studying architectural history in London, I became increasingly interested in Japanese architecture. I started working for Wallpaper* magazine and came to Japan as a correspondent. That was in 2004.

Nakai: So Wallpaper* was what brought you to Japan. MONOCLE was launched in 2007. When did you join the team?

Wilson: I came to Japan as a correspondent for Wallpaper* and wrote various articles on Japanese architecture, design, crafts, and so on. There was so much I wanted to cover in Japan, and many people, from architects to traditional artisans to designers, were very open to being interviewed. As a reporter, my interest was endless. Eventually, Tyler Brûlé left Wallpaper* to launch Monocle, and I joined him from the very beginning. Both Tyler and I were at a stage where our interests were expanding beyond architecture and design to include society and politics, so the launch of MONOCLE was a natural progression.

The charm of Japan lies in the stories found within everyday life

Nakai: Reading articles in MONOCLE, I get the impression that you actively cover Japan, and that the articles are timely—even Japanese people living in Japan don't feel the information is outdated—and that you portray the country's appeal from a unique perspective. What perspective do you take when covering Japan?

Wilson: We don't narrow our perspective; we just research and cover whatever we find interesting at the time. The subject matter can be old or traditional, or it can be contemporary. For example, we might happen to see a piece of furniture we like, look up the manufacturer, find out it's a furniture maker in a rural part of Japan, and then go there to cover it.

Nakai: Is design, such as interior design and architecture, often your starting point?

Wilson: Not necessarily. I feel that what is wonderful about Japan is not only its refined culture in terms of design, but also the fact that there are things and events with wonderful stories and ideas everywhere in everyday life. And I think that these high-level stories and ideas coexist naturally in cutting-edge, modern Japan. It is extremely rare for a developed country that has undergone industrialization and industrialization to have guardians of refined traditions in various fields.

Nakai: That's certainly true. However, while traditional crafts and other fields are now being greatly reevaluated, I feel that about ten years ago, they were not valued as much as they are now. From your perspective as someone who has actually covered these topics, how did you feel about this?

Wilson: It's true that when I first came to Japan, I felt that young Japanese people in particular didn't feel much pride in Japanese design. Of course, there were people who appreciated its value, but it was difficult to say that the majority recognized how rare and wonderful this coexistence of tradition and cutting-edge technology was. Because of that, I had a lot to write about and became really passionate about it, and when I wrote articles about Japan, I got vivid reactions from people all over the world.

Nakai: Thinking about it that way, things have changed significantly over the past decade or so. I think that the positive view of Japan from an outside perspective has also changed the way Japanese people themselves view their own culture.

Wilson: Yes, I think so. I believe that the affirmation and support of Japanese culture from an outside perspective has had some influence. From my perspective, it's strange that so few people take pride in something so wonderful, but on the other hand, I think that unassuming humility is also part of the appeal of the Japanese people.

Nakai: Humility sounds positive, but some people think Japan could be more proactive in marketing itself.

Wilson: I think they are marketing much more actively than before, but they are still humble. However, I think it's okay to do marketing in a way that is typical of Japan. In Japan's case, rather than asserting, "We are great at this," I think the greatest appeal lies in the kind of thoughtful attention to detail that is difficult to assert, such as the attention to every little thing. For example, small family-run companies often carefully craft very attractive products. Noda Enamel, which I interviewed the other day, was one such company, and there are countless others.

Values the World Can Learn from Japan

Nakai: In our first JAPANOLOGY article, we looked at data on long-lived companies around the world, and actually, more than 50% of companies that have been in business for over 300 years are Japanese companies. Perhaps it is because they have inherited refined values that they are able to offer unique value.

Wilson: That's very interesting data. I feel that many companies and craftsmen focus more on how to make good products than on profit and business expansion, and that attention to detail is a wonderful attraction.

Despite this appeal, it is sad to see Japan under external pressure to "change." Is a standardized world where 1% of the population monopolizes wealth truly a happy one? Is that the direction Japan should be heading? I don't think so. Rather, shouldn't the world learn from Japan?

Nakai: I don't think we can stop the trend of wealth concentration and the spread of industrialization, but I believe there is a growing segment of people seeking non-uniform, alternative choices. There are movements in places like Portland and Brooklyn to discover the future of the economy. It may not become mainstream, but I feel that the concept of "live well," which values environmental awareness and quality of life, is spreading as a global trend. More and more people are becoming aware of different choices and making conscious decisions.

Wilson: Yes, I agree. Wouldn't it be wonderful if the world became like that?

Nakai: Yes. In fact, I feel that MONOCLE takes a stance of discovering such values and cultures, shining a spotlight on them, and communicating them.

Wilson: That's right. It may not be supported by everyone in the world, and it may not be a topic of conversation in the mass market, but we communicate what we truly believe is important and what we like, saying, "This is what we like."

Japan covers all areas of the global magazine MONOCLE

Nakai: MONOCLE publishes a common edition worldwide, but since it doesn't publish regional editions, I think it selects and publishes articles from information gathered by correspondents around the world. Also, as you can see on the cover, articles are published in five categories: A-B-C-D-E (A: Affairs, B: Business, C: Culture, D: Design, E: Edits). Are there any particular regions that are featured more often in certain categories?

Wilson: MONOCLE currently has offices in eight locations around the world, and we travel to all regions to produce the magazine. We don't intentionally choose which countries or regions to cover, but most countries tend to have articles that lean toward specific fields. In that context, Japan is actually a very rare country that covers all five fields of A-B-C-D-E.

Nakai: That's very gratifying to hear. As you mentioned earlier, could it be that MONOCLE's values often coincide with the values and philosophy of Japanese culture?

Wilson: Yes, I think so. When you look at the world from the perspective of "live well," I think that the values and philosophy that Japan, sometimes described as having a "Galapagos phenomenon," has been able to maintain in this day and age are unique, and that the products nurtured within that culture are highly regarded.

My thoughts on the future of Japan

Nakai: Currently, many tourists are visiting Japan, and Japan is actively pursuing a policy of welcoming them as a tourist-oriented country. Furthermore, 2020 will be a significant milestone, so I think there is very strong momentum for change.

Wilson: I feel that way too. However, as a foreigner, I feel that it is not necessary to make changes just to make foreigners comfortable. People are capable of adapting to different cultures, and tourists do not necessarily want everything to be easy. Rather, part of the appeal of visiting a foreign country is experiencing a culture that is different from one's own, even if it means some inconvenience.

Nakai: So, the appeal lies in its unique, non-uniform nature.

Wilson: Exactly. Also, I don't think change needs to be made from a foreigner's perspective. Isn't it more important to make changes from the perspective of "How can we make Japan better for the Japanese people?" The stories cultivated by Japanese culture and the philosophy embodied in its objects are a major attraction of Japan. By evolving while keeping these at its core, Japan can become an even richer country.

Nakai: Thank you very much for today.