An Editor’s Perspective

 

NAOMI YOKOYAMA is the Editor-in-Chief of IROHA, a media platform she leads with a clear editorial vision: to spotlight people with Japanese roots who are shaping culture, ideas, and creative industries on a global stage. Born and raised in Tokyo, she brings to IROHA a long editorial career rooted in cultural journalism and cross-border storytelling.

She has worked as a writer and editor for leading publications including ELLE Japan, madame FIGARO Japon, Marie Claire Japon, and &Premium, covering fashion, design, food, and lifestyle through a culturally grounded lens. Over the years, she has interviewed internationally influential figures such as Naomi Campbell, Linda Evangelista, Ellen von Unwerth, Victoire de Castellane, Michael Kors, and Dries Van Noten—conversations that have shaped her perspective on creativity, identity, and global exchange.

Alongside her editorial work, Naomi is the founder of Cat&Travel, a bespoke travel practice curating thoughtful journeys throughout Japan. Many of her clients are well-known figures from the art, culture, and business worlds—part of a global creative community spanning New York, Los Angeles, San Francisco, and beyond—who seek experiences that go beyond access to offer depth, context, and genuine connection. Approaching travel as an editorial process, she designs each journey with the same care she brings to storytelling. This approach reflects an ongoing thread in her work, including earlier projects such as UTSU-WA?, a curated dinner series centered on contemporary ceramics, where editorial thinking shaped the experience itself—an approach that naturally informed her transition into travel.

 

UTSU-WA? Vol. 3  "hydrangea"

 

IROHA: What projects are you currently working on? What have you most recently completed or do you plan to do in the near future?

Naomi: My work today centers on curating travel experiences in Japan through Cat&Travel, alongside ongoing editorial and cultural projects. While the format has expanded, the underlying approach remains unchanged. For me, editing is an act of discernment—identifying what truly matters, then shaping it into a coherent narrative. That sensibility guides everything I do, including travel.

 

Many of the people who seek me out are deeply well traveled, highly informed, and possess a clear sense of taste. Access, in this context, is not simply about entry, but about relevance—knowing where, when, and with whom an experience unfolds. These relationships are built through trust, shared references, and long-standing networks, often overlapping with the community that has formed around IROHA.

Because many travelers arrive in Japan already familiar with the country through social media and global coverage, my role is to go a step further—to shape experiences that are quiet, specific, and genuinely personal. Alongside more classical points of interest, I curate encounters centered on art, architecture, and food, such as private museum dinners for visiting art groups or intimate meals where the tableware is created by ceramic artists and becomes part of the journey itself. I see these projects as a natural extension of ideas I have developed throughout my career—where culture is not simply consumed, but thoughtfully shared.

Collaboration Dinner with Ceramic Artist Masaaki Shibata at Farmoon Kyoto

 

IROHA: What led to the creation of IROHA?

NAOMI: IROHA began through conversations with my sister, Kikka Hanazawa, who has spent most of her adult life in the United States—first in New York and more recently in Los Angeles. Through her work and relationships, she was deeply embedded in global communities across art, culture, business, and social impact, yet she often observed how fragmented the Japanese diaspora could be, even among people who shared similar values and experiences.

What struck both of us was that many Japanese individuals living abroad were highly accomplished and globally engaged, yet rarely gathered with intention or visibility as a community. There was also little space to reflect collectively on identity—particularly as “Asian” or Japanese—outside of national or institutional frameworks.

IROHA emerged from that gap. Rather than defining a single narrative, we wanted to create a platform shaped by listening—one that quietly brings together people with Japanese roots who are active on a global stage, and allows each individual path to be seen on its own terms. For me, as a writer and editor, it felt like a natural extension of my work: creating structure, context, and connection, while honoring the specificity of each story.

IROHA: Based on your background, do you have any advice or a message for younger generations?

NAOMI: When I was younger, I chose a path that was less conventional for my generation. Instead of pursuing the stability of a full-time position, I committed myself to building a career independently through freelance work. I worked intensely, driven by the need to prove that it was possible to succeed on my own terms. That focus came with trade-offs. I gave most of my energy to work and paid less attention to my personal life, including relationships and the idea of starting a family, because at that time it felt necessary to establish my independence and direction.

Looking at younger generations today, it feels as though there is far more room to move between different interests and life choices. The boundaries between work, creativity, and personal life appear more flexible, and there is less pressure to follow a single prescribed path. I find that openness encouraging.

If I were to offer one piece of advice, it would be this: there is no single “right” way to live. You don’t have to commit yourself to only one path, nor do you need to have everything decided early on. Allow yourself the freedom to explore what draws you, to change direction when needed, and to trust that your choices can evolve over time. Staying open—to work, to people, and to possibility—can be its own form of clarity. 

IROHA: Outside of work, what are you most interested in right now?

Naomi: have been studying shitsurai, a traditional Japanese cultural practice with a history of more than 1,200 years, under Michiko Yamamoto (Shitsurai Sanzen), from whom I received my instructor’s license. Shitsurai is rooted in the home—seasonal rituals passed down through everyday life, marking time, life events, and the changing rhythm of the year. Meaning is conveyed through intentional composition: every element holds significance, from what is selected and carefully placed to the deliberate presence of empty space. It reflects a way of sensing the seasons and recognizing nature and the continuity of life.

The practice follows seasonal observances such as Tango no Sekku on May 5. A shitsurai for this occasion typically features koinobori (carp-shaped banners), whose symbolism reflects strength, perseverance, and growth. Iris leaves may also be included, chosen not only for their seasonal presence but for their sword-like form and protective associations. In shitsurai, each element carries layered meaning, shaping the space through intention rather than decoration alone.

Shitsurai for Tango no Sekku (May 5)

What continues to resonate with me in shitsurai is its mindset—the practice of slowing down, observing carefully, and preparing with intention. Through this process, I cherish the quiet, focused time of working with my hands and shaping each arrangement. As family structures continue to change, traditions like this are gradually becoming less common, yet I feel they remain something deeply worth carrying forward into the future.


written by Jessica Woolsey / photography : Masanori Akao (portrait), Toru Kometani (Utsu-Wa?)

Naomi Yokoyama's Instagram

Cat&Travel