Cover Takashi Murakami at the Louis Vuitton showcase (Photo: Louis Vuitton)
Takashi Murakami at the Louis Vuitton showcase (Photo: Louis Vuitton)
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There is no one quite like the exuberant Japanese artist Takashi Murakami, which is why Louis Vuitton hosted an exclusive retrospective of his work at Art Basel Hong Kong
It’s been over a year since Tatler last sat down with Takashi Murakami, for our March 2024 cover story. At the time, the renowned Japanese artist and cultural figure, known for his eclectic motifs from happy flowers to a jagged-toothed cartoon character Mr Dob, had much to look forward to: Takashi Murakami Mononoke Kyoto, his first exhibition in Japan in eight years; a talk with fellow Japanese artist Shinro Otake at Art Basel Hong Kong; and more shows at London’s Gagosian gallery and New York’s Brooklyn Museum. A trip around the sun later, the larger-than-life 63-year-old returned to Hong Kong to put on a show.
We met him at Art Basel Hong Kong where, just steps away from the main exhibition halls, an exclusive curation of Murakami’s celebrated artworks was boldly displayed under a giant metal Louis Vuitton trunk lined with acid green carpets from floor to ceiling.
For casual onlookers, the presentation signals Murakami’s enduring prowess in both artistic and commercial endeavours. To the artist, however, it is a sign of a heartfelt partnership that spans more than two decades. Some of the artworks, which included sculptures, paintings and animations, are from the private collection of Bernard Arnault, the CEO of fashion conglomerate LVMH. “After beginning to work with Louis Vuitton, Bernard showed interest in also collecting my art,” Murakami tells Tatler. “I was very touched by his kind and creative mindset.”
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Above Exclusive curation of Takashi Murakami’s celebrated artworks at Art Basel Hong Kong by Louis Vuitton (Photo: Louis Vuitton)
Exclusive curation of Takashi Murakami’s celebrated artworks at Art Basel Hong Kong by Louis Vuitton (Photo: Louis Vuitton)
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Of all the works exhibited at the Hong Kong show, Murakami is most fond of two sculptures: Zoucho-kun (2003) and Tamon-kun (2003). Made from fibreglass, steel and acrylic, the artworks, which were previously showcased at the Fondation Louis Vuitton in Paris in 2018, feature manga-inspired characters inspired by Buddhist divinities. Created to stand at opposite ends of a space from one another, Zoucho-kun—which translates to “he who makes things grow”—is positioned in the south in a bid to help alleviate people’s suffering. In the north, Tamon-kun—or “he who hears everything”—protects sacred places. The pieces, created only three years after he introduced Superflat—a two-dimensional style that blurs Japan’s traditional art with post-Second World War pop culture such as anime and manga—to the world, take Murakami back to a time in his career that was driven by wide-eyed exploration.
“It was very early in my work with sculptures and the technique was nowhere near perfection. But when I made these sculptures, I felt pure desire. I just really wanted to make something 3D. From what I remember, [the pieces] felt like a breath of fresh air,” Murakami says.
Above 'Zoucho-kun' (2008) (Photo: Louis Vuitton)
'Zoucho-kun' (2008) (Photo: Louis Vuitton)
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The immersive showcase also featured the fruits of his partnership with Louis Vuitton, with designs co-created with the French fashion house speckled among his colourful artworks. Taken from the first collaboration in 2003 that disrupted the classic duo-toned monogram with 33 vibrant shades, a singular Monogram Multicolore Marilyn Trunk was left open at the centre of the presentation space. Filling the trunk’s red velvet interiors were 33 boldly hued Marilyn bags from the same collection. Also on display was his Monogramoflage motif on a painted canvas and the Louis Vuitton Keepall bag. Introduced in 2008, this fusion of camouflage print and the house’s monogram blazed a trail for the slew of luxury fashion and artist collaborations that continue to this day.
After more than two decades, Murakami’s legacy with Louis Vuitton lives on in the 200-plus designs that make up the Louis Vuitton x Murakami re-edition collection. Released on January 1 this year, Chapter One reawakened the artist’s rainbow Monogram Multicolore. Two months later, a second chapter was revealed, which saw a series of leather goods, accessories and beauty products decorated with his cherry blossom motif.
While his seminal collaborations from the Noughties reached cult status, Murakami, to our surprise, revealed that he initially hoped that the re-edition would receive significantly less exposure. “I wanted [the collection] to be more compact and not so big this time,” Murakami admits. “But compared to 20 years ago, Louis Vuitton is a lot bigger and is completely different. But it’s a fantastic thing, you know, that many young people can recognise my name again. Overall, I am very happy.”
Above Monogram Multicolore Marilyn Trunk with 33 Marilyn bags (Photo: Louis Vuitton)
Above Monogramoflage motif on a painted canvas and the Louis Vuitton Keepall bag (Photo: Louis Vuitton)
Monogram Multicolore Marilyn Trunk with 33 Marilyn bags (Photo: Louis Vuitton)
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He may be one of the world’s best- known living artists, but Murakami doesn’t believe there is a particular reason for his enduring popularity. “I don’t know, I think it’s some coincidence,” he says. According to the artist, his rise was part of a wider trend of non-Western artists such as those from Cuba, Vietnam and Thailand, who were making their mark on the contemporary art scene. “I think it was the right timing,” Murakami says.
This modesty skims over how his thirst for artistic evolution adds to his appeal. Case in point: his embrace of AI; it played a key role at his recent show at London’s Gagosian titled Japanese Art History à la Takashi Murakami. With the help of the technology, Murakami attempted to recreate traditional Edo period masterpieces such as Iwasa Matabei’s Rakuchu Rakugai Zu Byobu (1615). Rather than a carbon copy however, the contemporary artist’s 13-metre take on Kyoto’s sprawling urban life in the 17th century features the unique inaccuracies left by AI programming, interspersed with his signature happy flower motifs.
He also works in the Web3 space: after minting his first NFTs in 2023, his art trading company Kaikai Kiki acquired NiftyKit—a Web3 technology enterprise that facilitates the issuance, management and sale of blockchain enabled digital assets—in April this year.
For Murakami, it’s not about leveraging what’s on trend to stay relevant. “Honestly, when I create something, I want to escape boredom,” he says. “Boredom is my enemy. Many times, for my commissioned works, people ask for happy flowers; but if I make just this, things get too routine. These new technologies help me escape from this.”
Above Takashi Murakami at Art Basel Hong Kong (Photo: Louis Vuitton)
Takashi Murakami at Art Basel Hong Kong (Photo: Louis Vuitton)
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Despite all his triumphs, the artist continues to grapple with his legacy, referencing the international appeal of the late Japanese American sculptor Isamu Noguchi and fellow Japanese contemporary artist Yayoi Kusama. “I’m curious as to how I will be positioned in art history,” Murakami says. “Being recognised in the general landscape is great, but after I pass, how will people’s opinions change?”
If his ongoing craving for innovation and creativity continues, he has no reason to worry about his legacy. As well as his collaboration with Louis Vuitton, the dynamic artist has debuted a range of other unexpected projects this year: a capsule of limited-edition jerseys with MLB, the American professional baseball league; a series of phone and travel accessories with Casetify; and his own footwear brand Ohana Hatake. He also made his music debut, joining forces with emerging Japanese rap star JP the Wavy to release his first single LV Murakami (2025) under the moniker MNNK Bro.
After all, despite his work sometimes dealing in dark, existential themes, an element of playfulness runs throughout—a way to make art appealing and accessible, no matter how old the audience. “When I was young, my parents would constantly bring me to art shows but I felt disappointed. That’s a reason why I started to [draw] cute faces and animation. Perhaps I can make a positive impact on children and make a museum a more enjoyable place.”
Hours after our chat, it became clear that Murakami’s joyful spirit has been far more infectious than he initially dreamt of. Away from the confines of gallery walls and Art Basel freneticism, he joined JP the Wavy to perform their song live. Taking to the stage in his go-to happy flower hat, the artist rapped and danced seemingly without a care in the world. “LV Murakami, lookin’ so colourful. It’s like this world,” the MNNK Bro duo declared to the crowd. And perhaps, it is this very zest for life that will be the great Murakami’s lasting legacy.
Madeleine is a Singapore-born fashion journalist who loves discovering up-and-coming designers and scouring eBay for vintage garments. Beyond spotlighting both Asian and emerging voices, she strives to cultivate a safe space for creatives in the industry at large to share their stories. Off-duty, she’s a proud dog mom who likes to unwind in the great outdoors.
