T akashi Murakami, a Japanese artist, has a question. He wants to know why art in Britain is often seen as stuffy and exclusive. Why does it have such status over here? I don't understand. He should know about mixing art with mass culture. Next week, his first London exhibition opens at the Serpentine gallery and in February his cartoon-like images will enter mass consciousness when the results of his collaboration with Marc Jacobs at Louis Vuitton go on sale. The spirit of Murakami was omnipresent at the Louis Vuitton catwalk show in Paris last month, where the bags were unveiled. Outside the venue, huge balloons of the artist's characters crowded the skyline. On the shownotes, the traditional LV logo was embellished by little cartoon hands drawn on the ends of each letter. And the clothes had the same knowing, pristine innocence as Murakami's smiling flowers and floating jellyfish Asian Escorts Kensington High Street. The bags range from a simple rendering of the familiar logo in Murakami's signature bright colours to cartoons of smiling blossoms, eyes and pandas that look as if they have been painted over the classic monogram. There are other ideas in development too, such as perspex hair-cubes with Murakami characters floating inside. With these accessories, it seems that Louis Vuitton is keen to turn the collaboration into something more widely available than their previous limited-edition experiments with artists such as Julie Verhoeven and Stephen Sprouse. Murakami is interested in what makes art approachable to a mass market. I thought, maybe if I created characters, I could appear on front pages too. Japan's tradition of graphic and animated art, such as manga, is well known. But Murakami makes the point that while the west would see it as cartoonish and therefore below the level of fine art, the Japanese link the style of drawing to masters such as Hokusai. With the strength of this heritage in mind, he set about inventing characters that now regularly appear in his artwork, to be shown at the Serpentine. There is Mr Dob, who Murakami describes as a kind of self-portrait, Kaikai and Kiki apparently two people in rabbit costumesand a small boy, Kitagawa-kun, a large model of whom is in the first room Asian Escorts Kensington High Street the exhibition. Also on display are models of mushrooms covered in eyes, an homage to Francis Bacon done in a cartoon-style, and a wallpapered room of smiling flowers which, for all its intensity, is joyfully claustrophobic. Murakami is happy to exhibit his work in Europe but in Japan he is more interested in infiltrating the mainstream, which is why the collaboration with Louis Vuitton is ideal. In Japan, the brand is virtually worshipped. The collaboration happened because the famous LV monogram, introduced inwas inspired by the craze for Japanese art that infected Paris at the time. There was no fear about letting a cartoon artist loose on the fiercely protected LV trademarks. Louis Vuitton is a big power, but we can do revolutionary things with it. However, Murakami wonders if the collaboration might be too much for his own home market. Even if that were the case, the label's weight of influence should negate the problem. Both collaborations of the past two years have had a major impact on fashion: Stephen Sprouse's graffiti bag is still widely coveted and counterfeited, and this summer's patchwork fairy-tale bag by Julie Verhoeven inspired much of the recent taste for childlike whimsy. The fact that Louis Vuitton has chosen to explore the sharp naivety of Japanese cartoons and their bright colours means the style will become Asian Escorts Kensington High Street prevalent. And because of this the products will become of big importance to the global industry, and therefore desired pieces in themselves, especially in Japan. After Louis Vuitton, Murakami hopes to move into animated film. It has not been damaged by his interest in films. The Louis Vuitton project forced him to think in a broader way. Before an opening it's really exciting, but once the exhibition begins it is really quiet for the artist. And this will have a big effect on the general public. People will get to see the art. From November 12 till January This article is more than 22 years old. A Japanese artist has breathed new life into a classic bag. Charlie Porter reports. Reuse this content.
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