Power player

Takashi Murakami, the renowned contemporary Japanese artist known for blending traditional Japanese art with pop culture to create a vibrant and instantly recognisable aesthetic, coined the term “Superflat” to describe both hi art style and his philosophy. It refers to an aesthetic of flattened forms and bold colours, drawing on Japan’s traditional art while reflecting the two-dimensionality of anime and manga. It also critiques consumer culture and the superficiality of contemporary society.

His works often feature iconic characters such as Mr. DOB, Kaikai, and Kiki — playful yet sometimes unsettling figures that blur the line between fine art and commercial design. It is a line he has flirted with throughout his practice. Murakami’s international breakthrough came in the late 1990s and early 2000s, when he began exhibiting his work globally. His fusion of high art and popular culture attracted the attention of major brands, leading to collaborations with the fashion, music, and luxury industries.

One of his most notable partnerships has been with Louis Vuitton. Their first collaboration was in 2003, under the creative direction of Marc Jacobs. Murakami reimagined the classic LV monogram, infusing it with his signature playful style. The collection featured multi-coloured monograms on white and black back-grounds, as well as the Cherry Blossom pattern, which became an instant hit. The partnership lasted for over a decade, making the collaboration one of the most recognisable in fashion history.

Murakami’s second collaboration with Louis Vuitton, unveiled last year, revisits the vibrant energy of their original partnership while introducing new elements. This time, the focus extends beyond handbags to include ready-to-wear pieces, accessories, and even décor. The updated designs feature Murakami’s signature smiling flowers and Mr. DOB character, now rendered with more intricate detailing and three-dimensional effects. The colour palette remains bold and playful, while new sustainable materials align with both Murakami’s and Louis Vuitton’s commitment to environmental consciousness.

The 2024 collaboration has been met with widespread acclaim, reflecting Murakami’s influence in both the art and the fashion world. His ability to blend cultural commentary with commercial appeal continues to captivate audiences globally, cementing his legacy as a boundary-pushing artist who transcends traditional definitions of art and design.

Can you talk us through a typical day at work?

I basically produce my work at one of two desks — one is for working and one is for eating. I also lie in my bed and try to think up a lot of ideas.

How many projects do you usually have going on at the same time?

I honestly have more projects than I can count, so I have my assistant do all of the scheduling and tell me what I need to do next.

You’ve worked with musicians, designers, your own team, and brands — what is it you love about doing a collaboration?

Well, of course I have my own things I want to do, but when other people see my motifs and tell me, “I’d like to do something like this,” that opens a new door for me.

What do you think these collaborative bags offer the people who love them?

At the time [of the first collaboration], I had no idea what kind of brand Louis Vuitton was, and I didn’t understand the impact of changing products’ classic base colour to white, for instance. But now, I can see that the change from something purely chic into something c o l o u r f u l really made a big impact.

Can you explain why you chose specific motifs?

The characters we chose this time are Superflat. When Marc first requested my work, he told me, “I don’t need any characters. I just want you to change the emblem.” But midway through, he drew a sketch, copying a panda that appeared in my work, and sent it to me. That’s how my own characters emerged inside Louis Vuitton.

Why do you think using the Louis Vuitton monogram in a gallery show was seen as so controversial by art critics?

At the time, the art scene in New York was very conservative, and the fusion of art and fashion was not widely accepted.

What are you most excited to share with the world in this re-edition?

Last time when I made the animation of the panda, I thought about the future, which, well, is basically now. I was thinking about what it would be like now and tried to convey a message to the children in the hope that they’d love my collaboration. I hope that these characters will be passed on to the children this time as well, and that they’ll still be cherished 20 or 30 years from now.

Do you see Takashi Murakami as a brand?

Artists tend to be perceived in a similar context to a brand because they create works of art, but in the end, all that matters is whether their work is good or bad. I personally think it’s fine if the artists’ names cease to exist, so, in that sense, I don’t think we artists are a brand.

From the March edition of Wanted, 2025