What does the kimono have to do with Louis Vuitton? A new exhibition in Osaka looks at the Japanese connection
Curated by renowned fashion historian Florence Muller and designed by architect Shohei Shigematsu, the immersive exhibition, which runs until Sep 17, unfolds across 12 thematic chapters. There are over 1,000 objects on display, with around 200 of these specifically related to Japan.
The journey starts at the museum's atrium, where eight monumental trunk columns made from monogram washi paper greet visitors. There's also a dome-shaped installation made from 138 trunks covered in different design patterns, both contemporary and from the archives.
The show traces Louis Vuitton's origins in the Parisian suburb of Asnieres where founder Louis Vuitton opened his atelier in 1854. He had his heart set on making the finest trunks and the remarkable savoir faire of the artisans in the area attracted him.
From this base, he became the official packer and box maker for Empress Eugenie de Montijo, wife of Napoleon III.
This section of the exhibition also includes archival images and footage, as well as artist drawings that mark the rise of the brand.
The workshop in Asnieres is still very much in operation and the savoir faire, or know-how, continues to be passed down until today.
No Louis Vuitton tale would be complete without the mention of flat-top trunks and Steamer bags they made famous. Quintessential travel companions of the well-heeled set of yore, these archival pieces are among the exhibition's highlights.
Custom trunks were also popular, and on display at the show are some rugged travel pieces packed with history. These include waterproof zinc and copper trunks that belonged to Claude de Pimodan, a French count who used these on his travels through what Europeans called the Far East. There are also folding beds and desks that explorer Pierre Savorgnan de Brazza once owned, as well as custom picnic trunks that British families took with them on their trips to the countryside.
Visitors will do well to spot the then-revolutionary lock system on many of these cases – back in the day, the ingenious system replaced the use of keys and was a gamechanger.
As a nod to the brand's long ties with Japan, some of the country's artefacts from the collections of international museums as well as Vuitton's own collection, are also on display.
Japanese aesthetics had long had a strong influence on the brand, when the Japonisme movement was in full swing in France from the late 1800s onwards.
Gaston-Louis Vuitton, the grandson of Louis Vuitton, collected Japanese art, which informed much of his designs. This can be seen in the Art Nouveau design of the iconic monogram.
Incidentally, an original sample of the monogram from 1897 is being exhibited for the first time, after it was rediscovered in the Paris archives.
This admiration for Japan during Louis Vuitton's early years was shared by subsequent artistic directors. Nicolas Ghesquiere, Virgil Abloh and Mark Jacobs drew inspiration from all things Japanese, including the kimono, Kabuki theatre and Kendo uniforms.
The connection also came in the form of collaborations with contemporary artists such as Takashi Murakami and Yayoi Kusama, as well as designers Kansai Yamamoto, Rei Kawakubo and Nigo.
In fact, the collaboration with Murakami some 20 years ago kickstarted the mainstream trend of cross-pollinating fashion and art. Other fashion houses subsequently followed suit.
And speaking of fashion, one-of-a-kind couture pieces worn by celebrities such as Rila Fukushima, Sophie Turner and Cate Blanchett are showcased in display niches that evoke the dressing rooms at Louis Vuitton's flagship store at the Vendome in Paris.
Saving the best for last, there's a gift store at the end of the exhibition, which not only includes exhibition merchandise but also a selection of the brand's latest offerings including bags, small leather goods, jewellery and perfumes.
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'What I'm trying to do is build a community that loves the environment, makes a positive impact, and shares Belitung's beauty with others,' he explained. There's a desire here to write a different development story – one that avoids the mistakes of overcrowded coastal destinations. Napitupulu said they're lucky to have a small showcase proving sustainable coastal development is possible. Yet, as Belitung charts a course toward low-impact tourism, nearby island sanctuaries tell a cautionary tale. In the Riau Islands, serene eco‑tourism havens like Nikoi and Cempedak – home to nesting hawksbill and green sea turtles, as well as Irrawaddy dolphins and dugongs – local communities now face ecological and social risks from a planned US$6 billion aluminium smelting complex. On our boat ride back to the resort, the boatman switches off the light, and we fall silent. I sink into the cushions, lie back, and look up. Above us, a sky thick with constellations stretches endlessly, as if we're gliding through a sea of winking stars. How lucky we are to witness this sliver of magic, and to experience what reconnecting with wild places does to the soul – the privilege of access to 'Santai' time, and the hope that Belitung will protect its natural rhythm – that paradise can hold.
