Takashi Murakami on collabs, consumer culture and art

A creative visionary who seamlessly bridges both the art and fashion worlds, renowned Japanese contemporary artist Takashi Murakami has captivated global audiences with his vibrant fusion of traditional Japanese art and pop culture. It’s a vision that transcends borders, leaving an indelible mark on the art world. Known for pioneering the “Superflat” movement, he seamlessly interplays between high and low art forms, blending anime, manga, and historical Japanese painting. This aesthetic has given us iconic smiling flowers, mushrooms, and whimsical characters that are recognized in galleries, museums, digital art spaces, and on apparel. Having exhibited in prestigious institutions worldwide, including the Museum of Contemporary Art in Los Angeles and the Palace of Versailles, Murakami’s work often critiques consumerism and commercialism, revealing the tensions between Japan’s cultural past and present. However, this creative ingenuity extends beyond traditional art, as the artist forges innovative collaborations with luxury brands like Louis Vuitton, Dior, Off-White, and Supreme. These partnerships exemplify how he seamlessly blends his artistic vision with global consumer culture, blurring the lines between fine art and commercial design. Jing Daily: To you, what is the relationship between art and luxury? Takashi Murakami: What is art? I believe that it is a place and occasion for the presentation of ideological principles to break through the history of art. And now, its strength as an instrument of comfort and as an element of interior decoration for the wealthy is also important. When I am requested to do a project or an activity that doesn’t reinforce Superflat, the philosophy I have established myself, I sometimes wonder whether [the project] is really beneficial to me. JD: You’re quite the collaboration king in the art world, having worked with the likes of J Balvin, Hublot, Crocs, and Louis Vuitton. How do you choose your collaborators and projects? TM: First, it is very important to hear from someone who has the authority to make decisions. It is equally important to understand how serious and earnest this decision-maker is about the project. Their level of seriousness is also reflected in the weight of the contract. I decline all projects from agencies that do not have the authority to make decisions or from people who say they are acting on behalf of someone else. JD: How does fashion sit within the realms of culture today? TM: Artists express themselves from scratch. While in fashion one may not start from absolute zero, fashion is an industry with deep, tolerant pockets. It is also a place where one finds one’s identity, whether in the newest mode or in vintage clothing, and, by wearing them, presents your message to the people who are looking. JD: Tell us how your long-term collaborations with Louis Vuitton have evolved over the years. TM: The LV collaboration with Marc Jacobs was first presented at the October 2002 fashion show, and the products were available from 2003 to 2017. Since Mr. Pietro Beccari became Chairman and CEO of Louis Vuitton, the relationship has continued, for example, with the company kindly sponsoring a project to install a sculpture for my solo exhibition. I was working on designing the camouflage monogram for LV when he joined LVMH, so we met around that time and got along very well; we have had many chances to discuss various topics since. Perhaps that is why he continues to support me. Thank you, Mr. Pietro, for remembering our old friendship. JD: What feelings do you most want to spark in people who see this “Flower Parent and Child” work? TM: I would be most appreciative if people felt the kind of surprise that leaves them speechless or makes them want to exclaim. JD: Your work is famously colorful and joyful. What kind of emotions or feelings do you want to bring to the viewers with your work? TM: I am cognizant that I am creating a message especially for children. I think it is important that my work be one that allows children to discuss with their parents, “What have I seen today?” and “Mom and Dad, what am I being shown right now?” JD: Tell us more about what inspired this recent work. And also, what inspires the signature characters that appear repeatedly in your work? TM: The Japanese view of life and death, that human beings in the midst of nature are ephemeral and easily fade away, led to the emergence of artistic themes such as “snow, moon, flowers,” or “snow, bird, wind, and the moon.” This Japanese view — that life is fleeting, but because each moment is ephemeral, we want to be beautiful while we live — has led to the appreciation of floral motifs. The most symbolic example of this may be the custom of admiring cherry blossoms. Jing Daily presents Jing Masterminds — a fortnightly, exclusive interview series profiling today’s most iconic names in art, fashion, commerce and culture. Delving deep into their personal journeys, creative processes, business strategies and societal impacts, the series offers readers an intimate look at the lives and minds shaping our industries.

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Takashi Murakami on collabs, consumer culture and art