Firstly, Last tells the story of an exceptional accessory and the archive piece that it has inspired.
The 63-year-old Japanese artist Takashi Murakami, the eldest son of a taxi driver and a housewife, grew up in an apartment with one room in North Tokyo. As a child he would accompany his parents on traveling to the National Museum of Western Art. (He said that after a visit he would have to write a report about what he had seen or refused the dinner.) In the 1980s he studied the late 19th-century Japanese painting style Nihonga at the Tokyo University of the Arts, but found the Practice frustrating. Experimenting with Anime and Manga, who had fascinated him since his childhood, he eventually started to make psychedelic paintings and sculptures of smiling flowers, mushrooms with Googly-Eyed and cartoon-like characters with names like Mr. DOB and Miss KO2.
In 2002, Murakami was invited to meet Marc Jacobs, the artistic director of Louis Vuitton at that time. Although the artist said that he had never heard of the company, he accepted the offer. After a short meeting in Paris, Jacobs asked, who had attached an image of Miss KO2 to his office wall, Murakami to work with the monogram print of the house from 1896, the well -known initial initials of “L” and “V” in a serif letter type And a trio of flower motifs that were probably inspired by the decorative symbols found in Japanese family peaks. For the Spring 2003 collection of the brand of beautified Murakami items such as the Pochette handbag with panda and pink cherry blouse motives and added 33 new colors to the characteristic brown pattern.
Earlier this year, the French label released the first episode of a two-part Louis Vuitton x Murakami re-design, which will contain more than 170 pieces with hypervivant prints that nod to the original collaboration. The Superflat Panda design from Murakami is back – this time on skateboards and square trunks – and the rounded fast bandoulière 20 -bag, at the top, is decorated with a reused pattern of swirling flowers and grinning daisies. The result is a more mature version of Murakami’s adolescent preoccupations.
Digital technology: Max Bernetz. Set Designer’s Assistant: Frida Fitter
