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      Aro Archive store features pastel-coloured rooms and industrial control station

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      Fashion retailer Aro Archive’s pastel-hued east London store was designed by founder Ariana Waiata Sheehan to evoke “a sense of otherworldliness”.

      The store, located in Shoreditch, replaces the brand’s previous, more industrial store on nearby Broadway Market and was intended to have a frivolous feel.
      The Aro Archive store has pastel-coloured floors in pink and blueThe interior has “a sense of otherworldliness, escapism and fun,” Waiata Sheehan explains, comparing it to “a mixture between a mushroom trip and going to visit someone’s rich aunty who runs a gallery”.
      “We’ve always had very neutral industrial spaces,” she told Dezeen. |But you can get an industrial Zara these days, so time to switch it up and go full personality, which has been scary but so worth it.”
      It is located inside an old Victorian warehouseLocated inside a five-storey former Victorian warehouse, Aro Archive, which sells pre-owned clothing by avant-garde designers, was organised so that each floor has a different colour.

      Monochrome pastel pink, blue and white hues decorate the different levels, which also feature a wide range of reclaimed and recycled materials, furniture and artworks.
      Founder Ariana Waiata Sheehan created the interior design”The pink floor is supposed to feel very warm, womb-like and enclosed,” Waiata Sheehan said. “The blue floor is more light and otherworldly. And the two white floors are very ethereal and calm.”
      White duvet covers by fashion house Maison Martin Margiela were used to create curtains for the changing rooms, while interior pillars are made from reclaimed 1990s metal lamp posts that the designer sourced from a scrapyard in Preston.
      Duvet covers by Maison Martin Margiela frame the changing rooms”The building and surrounding area feel very London, so we did want to bring in a sense of that for example with the lamp posts, metal works and details, bright neon lights and so forth,” Waiata Sheehan said.
      She sourced a number of unusual furnishings for the Aro Archive store, including an industrial control station from a paper-manufacturing plant that is now used as a till.

      Halleroed references Swedish Grace and Carlo Scarpa for Toteme flagship store

      “The industrial paper control station I’ve been watching on eBay for nearly 4 years, waiting for a time I had the space to buy it,” Waiata Sheehan explained. “I wanted something different to the normal till, they’re all so boring and square.”
      The store also has another large metal till and metal drawers that originally came from a 1980s Mary Quant store and were rescued from a squat in Hackney Wick.
      A large metal till was originally from a Mary Quant storeWaiata Sheehan also sourced several smaller pieces for the boutique, where customers can purchase everything down to the artwork, furniture and accessories.
      “I do all the buying so everything is here because I love it in some way,” she explained. “But in terms of favourite pieces in store right now?”
      “For fashion, it’s the Rick Owens orange shearling gimp mask gilet, for objects the Shirin Guild ceramic incense holders and for furniture the wobbly glass table with magazine racks.”
      Waiata Sheehan bought an old industrial control station from eBayWaiata Sheehan hopes the Aro Archive boutique will feel like a home away from home and help to create a community feel in the area.
      “I think Shoreditch is lacking a sense of community and I wanted to work that into the space,” she said. “The feeling of a chaotic family home and a feeling of togetherness.”
      Lampposts from a scrapyard form pillars inside the storeOther London stores with notable interior design recently covered on Dezeen include Swedish fashion brand Toteme’s newly-opened Mayfair store and a Coach pop-up store at Selfridges that had fixtures made from recyclable materials.
      The photography is by John Munro.

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      USM Haller creates “techno-chic” Coperni retail space at Parisian shop-in-shop

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      Parisian fashion brand Coperni has collaborated with Swiss furniture company USM Haller to create its first-ever boutique, a shop-in-shop at French department store Printemps Haussmann.

      The shop-in-shop, installed at Printemps Haussmann in Paris, marks Coperni’s first-ever physical retail location and will be replicated at London’s Selfridges store and China’s Duty Free Mall in Hainan Island.
      Coperni collaborated with Swiss furniture brand USMDescribed by Coperni’s co-founder as “techno-chic”, the interior is defined by its cubic, space-age-style look that was achieved by reinterpreting USM Haller’s cubic storage systems as tables, walls and display areas.
      The floor of the retail space was covered in Versailles parquet flooring, with each of the wooden floor panels separated by USM Haller’s silver tubing. This typically lines the corners and edges of its storage systems and furniture.
      USM reinterpreted its iconic modular storage systemsThe Versailles parquet flooring was chosen for its artisanal and timeless spirit that draws on Parisian craftsmanship, which Coperni said pays homage to its ethos as a brand.

      The use of USM Haller’s silver tubing within the Versailles parquet flooring system marks the first time that USM has adapted and reinterpreted its modular systems into a wooden material.

      Dress sprayed onto model on Coperni catwalk at Paris Fashion Week

      USM Hallers modular systems also form arch-shaped display units along the perimeter of the shop-in-shop, which were fitted with rails allowing Coperni’s ready-to-wear collection to be displayed.
      A display table constructed from larger cubic modules was placed at the centre of the space, while a wall behind was branded with the Coperni logo.
      It marks the first time USM used its silver tubing in a wooden systemIn 2022, Coperni’s Spring Summer 2023 show during Paris Fashion Week went viral for live spraying a dress onto the body of supermodel Bella Hadid using Fabrican’s sprayable liquid fibre.
      AMO recently created a terracruda-clad shop-in-shop for Parisian fashion brand Jacquemus in Selfridges, London, that was designed to have a “Provence atmosphere.”
      The photography is courtesy of Coperni.

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      EBBA Architects designs sculptural pop-up shop for Rotaro at Liberty

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      London-based studio EBBA Architects has channelled the environmental ethos of fashion rental platform Rotaro for its pop-up boutique at department store Liberty.

      The project aimed to show that beautiful and interesting spaces can be created for temporary use, while still considering the environmental impacts of materials and construction.
      “We are very aware of our environmental impact and we believe design should speak to this, while also trying to make a unique experience for the visitor,” EBBA founder Benjamin Allan told Dezeen.
      EBBA designed a pop-up shop for fashion rental platform Rotaro”Rotaro is all about fashion rental, as a response to waste in the industry,” he added. “Circularity is key to their ethos and we wanted to connect to this, both in the use of material and form.”
      Bringing definition to Rotaro’s space within the wider store, EBBA has demarcated the area with a pair of substantial columns, each with an elongated, semi-circular cross-section.

      “The position and shape of the columns create the sense of walking into an entirely new space within the historic context of Liberty,” said Allan.
      The studio demarcated the area with a pair of substantial columnsEntwining the two columns, a pair of metal rails have the dual function of creating a display area and introducing a sculptural element that further defines the space, with soaring, free-form curves.
      “The two rails rotate and wrap around each of the columns, while also simultaneously responding to the opposite rail, a bit like a choreographed piece,” Allan said.
      Cork is the project’s primary materialContinuing the theme of duality, just two key materials have been used in the space – cork and metal.
      EBBA was influenced by the work of artists Donald Judd and Carl Andre and their elevation of humble materials through detailing and construction.
      A pair of metal rails have a dual function”We always look to push the potential of a project, to make the most impact through the simplest of means and also address the need to be economical,” Allan said.
      “Essentially the design revolves around only two materials which, working together, give a sense of regularity in the layouts of the blocks, combined with the sculptural forms of the rails.”
      Curated garments hang from the railsCork was used as the primary material, cladding the two columns and creating the backdrops that zone Rotaro’s area.
      EBBA aimed to use a material that had an environmental quality, while using the standardisation of the blocks to set parameters for the design.

      EBBA Architects transforms former jellied-eel restaurant into eyewear store

      “We chose blocks of a specific dimension that could then be adapted to create both the walls and the columns themselves,” Allan said.
      “The cork is a natural material that has an inherent warmth and depth, while also being incredibly versatile and easily recycled,” he added.
      Texture characterises the pop-up shopBrushed stainless steel was used for the metalwork, with each rail comprised of a single piece of metal that was bent and sculpted to wrap around the columns.
      This rail’s curving form relates to the idea of circularity in Rotaro’s business model, while also bringing an adaptability to the space by allowing the garments to be shown in a variety of ways.
      Brushed stainless steel was used for the metalwork”The primary purpose is to display the continuously updated collection while also adding a sculptural aspect that helps to create a sense of space,” said Allan.
      Within the ornately-detailed Liberty store, the project offers a bold, contemporary response to the interior, while finding common ground with the wider building.
      The rail’s curving form relates to the idea of circularity”The tones and textures in the warmth of the cork, tie in with the timber and natural colours of Liberty’s interior spaces,” Allan said. “Detailing and decoration in the original columns relate to nature and vegetation, which also tie into the use of cork and its qualities.”
      Because the Liberty building has Grade II listed status, no fixings were allowed into the building fabric.
      “The benefit of the lightweight cork material meant we could also adapt the Rotaro space with minimal impact on the wider building,” he added.
      Cork was chosen for being lightweightTo create a plinth that provides a flat surface for displaying objects, EBBA used the same semi-circular form of the columns, but flipped onto its side.
      This element has been given an ultramarine blue coating to add a sense of playfulness and catch the attention of visitors, using one of Rotaro’s key colours to connect with the brand’s identity.
      A semi-circular plinth features an ultramarine blue coatingWhile the space has been designed as a pop-up, EBBA worked – through the quality of the materials and the construction of the walls and blocks – to give it a sense of permanence.
      “All of our projects aim to achieve a quality of permanence through the use of natural materials and the detailing of the construction,” Allan said.
      “We believe that this level of quality helps to create a design that feels purposeful, even for temporary uses.”
      Other recent projects by EBBA Architects include a shop for Cubitts in an old pie-and-mash restaurant and a house extension with brutalist-style materials.
      The photography is by James Retief

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      Loewe ReCraft store in Osaka finds ways to let leather live on

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      Fashion brand Loewe has opened a store in Osaka that, for the first time, is specifically dedicated to the repair and preservation of its leather goods.

      The opening of Loewe ReCraft continues the “obsessive focus” that the brand has had on leather since 1846, when it initially launched as a leather-making collective.
      The store is set inside luxury department store Hankyu Umeda, and – thanks to the presence of an in-house artisan – is able to offer maintenance services ranging from re-painting and stitching to the replacement of handles and eyelets.
      The store is exclusively used to preserve and repair Loewe’s leather goods”The launch [of the store] builds on Loewe’s ongoing commitment to the longevity of its handcrafted bags,” explained the brand. “It’s about the joy of craft beyond the new; it’s a commitment to breathing fresh life into long-cherished possessions.”
      The store’s open facade allows for uninterrupted sightlines through to the interior, which has been decked out in natural tones and materials.

      Dotted across the recycled-wood floor is a trio of chunky consultation islands, each clad with glossy emerald-green tiles sourced from Spain.
      Thread, cutting tools, and leather swatches lie behind a glass windowThe longest of the three islands has a thickset countertop made from limestone and wood.
      It features a series of inbuilt flat trays from which customers can select straps, charms or studs to customise their items. Monogramming services are also available.
      A window in a tile-covered wall looks through to a small repair room that houses a sewing machine, various cutting tools, swatches of leather, and a rainbow of different threads.
      Loewe bag models with surplus-leather patches and pockets will be for sale in the storeAnother tiled wall at the rear of the Loewe ReCraft store showcases bags crafted from leather left over from Loewe’s past collections, which customers can purchase.
      Limited editions of the brand’s signature Basket bag are also available to buy, updated with patches and pockets made out of surplus leather.
      As well as leather items, Loewe also makes clothing, accessories and pieces for the home.
      Earlier this year the brand released a pair of trainers covered in shaggy green raffia, emulating the appearance of grass. It also collaborated with French metal artist Elie Hirsch to produce a series of bulbous pewter and copper jackets.

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      “I sometimes feel like I fell into doing fashion” says Jonathan Anderson

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      Loewe creative director Jonathan Anderson set up the brand’s annual craft prize to decode the “chintz” and “pastiche” associations of the discipline, he tells Dezeen in this interview.

      Luxury fashion house Loewe recently announced the sixth winner of its annual craft prize at NYCxDesign, which celebrates applied arts and innovation in modern craftsmanship.
      A spiky egg sculpture by Japanese ceramicist Eriko Inazaki was selected for the 2023 award from more than 2,700 entries.
      “It became chintz”
      Anderson established The Loewe Foundation Craft Prize in 2016 in an effort to honour the brand’s 19th-century origins as a leather-making craft collective.

      Speaking to Dezeen at the awards ceremony for the prize at The Noguchi Museum in Brooklyn, he explained he also wanted to redefine contemporary understandings of artisanal production.
      “I think from the ’80s onwards, [craft] had become this thing which was linked to mid-century, it was pastiche,” said Anderson.
      “In Britain, for example, there was a lot of money put into crafts and the Arts Council to boost this idea of making, and then it became maybe chintz at some point.”
      The winning sculpture by Eriko Inazaki (front) was displayed among an exhibition of shortlisted projects at NYCxDesign. Photo courtesy of Loewe”The reason why I set the prize up was to try to sort of decode that,” he told Dezeen. “It was like it wasn’t marketed right. The work was there, but the platform was not there.”
      Young creatives are now becoming interested in craft once again, he suggested.
      “I think younger people are starting to realise that, as much as it’s interesting being a contemporary artist, it can be just as interesting to be a rug maker or to make ceramics or to work with wood,” said Anderson.
      “It’s a less sort of diminished form of the arts.”
      “I am probably a shopaholic”
      Before being appointed by Loewe in 2014, Anderson founded his eponymous label, JW Anderson.
      Although differentiated by what Anderson describes as an “angst” at JW Anderson and a “heightened perfection” at Loewe, the two brands share an emphasis on art, design, craft and interiors.
      His collections at Loewe often incorporate elements of applied arts – bringing in collaborators and craftspeople, such as metal artist Elie Hirsch who created solid copper and pewter jackets for its Autumn Winter 2023 collection.
      Loewe also presented a collection of decorated wooden chairs during Milan design week that were created by global artisans.
      “Art for me is always going to be a language no matter what brand I’m in,” he said. “Because I think this is a way for me to kind of explain to the consumer, what I love, or things that I’m fascinated with.”
      Anderson works with the internal architectural team to design stores. Photo by Adrià CañamerasThe Northern Irish designer’s love of craft and art extends to the conception of store interiors for both of his brands.
      JW Anderson recently unveiled its first flagship store in Milan during Milan design week, designed by Anderson in collaboration with 6a Architects.
      “I sometimes feel like I fell into doing fashion but ultimately the interior part is what I love the most,” he said.
      “The thing I love about interiors is, it is a singular kind of environment. Whereas fashion is like a transient period that goes in different environments. I quite like with interiors the control that you can have within space.”
      He described his love of shopping for items to appear in stores.
      “I think I am probably a shopaholic,” he said. “I could be at an auction or be in a gallery and I’ll be like, ‘oh, that’s perfect for Korea or that’s perfect for…’.”
      “I think it just adds this element and a pleasingness for a consumer to go in and to a store and to see an original Rennie Mackintosh chair.”

      Needle-felted chair and spiky ceramic egg feature in Loewe Foundation Craft Prize exhibition

      Anderson feels that for Loewe, the design of stores is sometimes more important than fashion shows.
      “I think stores can be more than just like these commercial vehicles,” he said. “I think, for me, the store is just as important as doing a show. It’s sort of even more important because they have to last longer.”
      “I’m in a very lucky position at Loewe where I decide everything,” he added. “I have an internal architectural team, but I decide every artwork, I decide every door handle, every fixture.”
      However, that does not tempt Anderson to cross over from fashion into interiors permanently.
      “I enjoy it because it’s probably more like a hobby,” he said. “It’s something that distracts me from what I do as a day job, but I do it because of the stage of Loewe or JW Anderson.
      “But I would never see it as something where I would be like, ‘oh, I’m going to be an interior designer’,” he continued. “There are other people out there that are actually really good at it. I think I’m good at it to an extent, but I change my mind too quickly. I would like it for like a day and then I would want to redo it again.”
      The portrait is by Scott Trindle.

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      The Offbeat Sari exhibition celebrates “one of today’s most important global fashion stories”

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      The first sari to be worn at the Met Gala and sequins made from discarded X-ray film sourced from hospitals feature in the Offbeat Sari exhibition, which showcases around 60 contemporary saris at London’s Design Museum.

      The Offbeat Sari is the first UK exhibition to explore the contemporary sari, according to the Design Museum. The show opens today in a cavernous space within the museum’s subterranean gallery, illuminated by thin neon pendant lights.
      Hailing from India and wider South Asia, a sari is traditionally thought of as an unstitched drape wrapped around the body from shoulder to waist.
      The Offbeat Sari opens today at London’s Design MuseumIn recent years, designers have been reinventing the 5,000-year-old garment to serve young people’s growing interest in the sari, which has led to its revival, according to Design Museum head of curatorial Priya Khanchandani.
      “Women in cities who previously associated the sari with dressing up are transforming it into fresh, radical, everyday clothing that empowers them to express who they are, while designers are experimenting with its materiality by drawing on unbounded creativity,” said the curator.

      The first sari worn to the Met Gala features in the exhibitionSplit into various themes such as identity and resistance, the exhibition presents around 60 contemporary saris created by a range of established and emerging designers.
      Among the garments is the first sari to be worn at New York’s Met Gala in response to the annual ball’s 2022 theme, Gilded Glamour.
      Embellished with semi-precious stones, the tulle Sabyasachi-designed sari worn by Natasha Poonawalla features a statement train and was paired with a gold Schiaparelli bodice with protruding, orbit-shaped elements.
      Fashion brand Abraham & Thakore created sequins from recycled X-ray filmAnother navy blue sari by Abraham & Thakore is characterised by delicate sequins that were made using discarded X-ray film salvaged from hospitals – a design that aims to address the issue of sustainability within the fashion industry.
      Also on display is a purple georgette silk sari embroidered with shimmering acrylics, sequins and crystals. Founder of the #DeGenderFashion movement, author and comedian Alok previously wore the garment to highlight their belief that saris can be worn by anyone, regardless of gender identity.
      Photographs showing different ways of wearing saris are pasted across a blue wallContrasting textiles such as distressed denim and woven stainless steel make up other saris in the exhibition, highlighting the garment’s versatile evolution.
      Within the show’s “movement” section are a number of saris worn by young people while engaging in sports. These include a garment adorned with cherry blossom motifs that was donned during a cricket match as well as a polyester chiffon sari, which is among the outfits worn by a group of women who have begun to skateboard in saris – a growing trend, according to the museum.
      Sari wearers are increasingly wearing the garments to engage in sports, especially skateboardingThere is also an area dedicated to the craftsmanship involved in sari-making that explores how its history has transformed over the 21st century.
      “The sari is experiencing what is conceivably its most rapid reinvention in its history. It makes the sari movement one of today’s most important global fashion stories, yet little is known of its true nature beyond South Asia,” explained Khanchandani.

      “Genuine inclusivity in design is not a fantasy and need not be tokenistic”

      “For me and for so many others, the sari is of personal and cultural significance,” reflected the curator.
      “But it is also a rich, dynamic canvas for innovation, encapsulating the vitality and eclecticism of Indian culture.”
      There is also an area dedicated to materials and craftsmanshipChinese artist Ai Weiwei’s first design-focussed exhibition is another show that is currently on display at the Design Museum until late July. In other recent fashion news, designer Rick Owens has released a collection of wearable helmets that double as fluorescent floor lamps.
      The photography is by Andy Stagg. 
      The Offbeat Sari is on display at London’s Design Museum from 19 May to 17 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Project credits:
      Curator: Priya KhanchandaniAssociate curator: Rashmi Varma3D design: Studio Mutt2D design: Stuthi Ramesh

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      Supreme's Los Angeles flagship features its first fully floating skate bowl

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      A team of architects and designers has mixed retail with a skateboard facility for clothing brand Supreme’s Los Angeles flagship store, sited in the building that was once home to the iconic record store Tower Records.

      The overall design of the he 8,500-square-foot (790-square-metre) store was carried out through a collaboration of London interiors studios Brinkworth and The Wilson Brothers – and New York architect Neil Logan.
      The Supreme store features its first fully floating skate bowlSupreme, a Manhattan streetwear brand catering to skaters, collaborated with Steve Badgett of SIMPARCH, a New Mexico to outfit, for a fully floating skate bowl.
      SIMPARCH previously constructed four skate bowls for Supreme, including a small peanut-shaped skate bowl in the previous Los Angeles store in 2004.
      Inside, light bounces off the polished concrete walls”We had a much bigger area to work with at this location, so the design process with Supreme’s circle of experienced pool skaters took more time to nail down the final form,” Badgett told Dezeen.

      The clover-leafed sculpted wooden skate bowl has three depths and a pale surface bordered by a darker rim.
      “The previous four bowls we built for Supreme were all considerable challenges but this one was a whole different animal with its greater size and structural complexity,” Badgett said. 
      The white box store sports a red logo on the renovated billboard fascia”Our engineer, Paul Endres, figured out how to eliminate columns anywhere near the bowl so it hung from the deck structure. He was able to do that without compromising the lean, fluid, aesthetic we wanted, and it allows the bowl’s organic form to be seen unimpeded,” he continued.
      Located in the site of the former Tower Record’s West Coast store, the one-storey white box store sports a blocky red logo on the renovated billboard fascia.
      “It was such an honour to take loving care of the historic Tower Records structure while literally raising the roof to accommodate the huge levitating skate bowl,” said Brinkworth founder Adam Brinkworth.
      “The site has gone from the world’s largest record store to the world’s largest Supreme.”
      SIMPARCH created the wooden skate bowlStorefront windows between triangular columns wrap the street corner, turning the sales floor into a display case.
      Inside, steel trusses raise the original roof and open the space with skylights for an illuminated interior. Light bounces off the elevated, wooden bottom of the skate bowl, which hovers on the far side of the store.

      Brinkworth designs “honed and clean” interior for Supreme Paris store

      A metal wall was installed around the bowl to produce blurry reflection of the skaters. The wall also features a jagged black-hole art piece by Nate Lowman.
      On the main floor, clothing racks and product displays wrap around two walls. Sandstone benches were placed on the polished concrete flooring to reference a LA skatespot called the Santa Monica Sand Gaps.
      A Mark Gonzales go-kart is parked in the centre of the roomThe reserved white and grey material palette defers to art installations for colour and texture. A full-size F1 car by Mark Gonzales was parked in the centre of the room, and a colourful grim reaper mural by Josh Smith is splayed across a wall.
      The skate-in-the-store concept has become a signature for Supreme, who works with other architects to install the feature in locations across the country – such as the stilted platform in the Brooklyn store designed by Neil Logan Architect and the elevated reverberating bowl by Brinkwork in the renovated San Francisco store.
      In advance of the new opening, the Fairfax Avenue location in LA closed earlier this month after 19 years in business.
      The photography is by Blaine Davis.
      Project credits:
      Architecture: Brinkworth, The Wilson Brothers, Neil LoganDesign: Steve Badgett of SIMPARCHEngineering: Paul EndresFabrication: Steve Badget, Chris Vorhees, Clay MahnComputer modelling: Peter Eng

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      Louis Vuitton overhauls stores with Yayoi Kusama polka-dots and life-like animatronics

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      Luxury brand Louis Vuitton has transformed its stores across the world for the launch of its anticipated capsule collection with Japanese contemporary artist Yayoi Kusama.

      The launch of the collaboration has seen a number of key stores across the world redecorated with Kusama’s signature polka-dots, life-like animatronics of Kusama painting in the windows of the stores and an inflatable replica of Kusama peering over the roof of Louis Vuitton’s Champs-Élysées store.

      Louis Vuitton’s Paris store is one of the numerous locations that have been decorated to mark the collaboration
      Louis Vuitton’s Champs-Élysées store, an art-deco building built in 1912, encompasses the largest of the Kusama activations. Large brush stroke polka dots were placed across the facade of the building and paired with an oversized, human-like replica of Kusama, which was tied to and peering over the roof of the building.
      In New York’s Meatpacking District, a Louis Vuitton pop-up location was transformed into a “canvas” for Kusama’s vision. The space was blanketed in yellow and covered in black polka dots of varying sizes across its walls, floors and ceiling.
      Pop-up stores were opened across the worldReflective chrome spheres were organised in the shape of Louis Vuitton’s logo and suspended throughout the interior of the pop-up space, endlessly reflecting the spotted motif and the capsule collection, which is exhibited throughout the space.
      “Louis Vuitton celebrates its latest collaboration with Yayoi Kusama in New York with a special pop-up space in the Meatpacking District which has been transformed into a canvas for her vision and iconic art which opens to the public on January 6th,” said the brand.
      The stores were decorated in polka-dots and mirrored spheresA pop-up located in Soho, New York, was similarly decorated in Kusama’s spotted motif, brush stroke spots in hues of red green, white and blue covering the white-painted storefront, interior walls, ceiling and floors.
      The collection is the second collaboration between Louis Vuitton and Kusama, returning a decade after the fashion house and artist first collaborated in 2012.

      Yayoi Kusama wraps New York Botanical Garden trees in polka dots

      In 2006, Louis Vuitton’s then creative director Marc Jacobs approached Kusama and met with her at her studio where she hand-painted a Louis Vuitton Ellipse bag with her famed polka dot motif – the beginning of what would be one of Vuitton’s most successful artist collaboration.
      Six years later, in 2012, Jacobs released a collection of Kusama-painted bags and ready-to-wear pieces to coincide with her 2012 retrospective at New York City’s Whitney Museum of Modern Art.
      A pop-up store in Tokyo included a life-like Kusama installationA pop-up space in Harajuku, Tokyo continues the yellow and black theme. The ground floor of the space was lined in yellow with black spotted motifs, while the colours were inverted for the first floor, which has a black base with yellow spots across its surface.
      Elsewhere across the world, select Louis Vuitton stores saw life-like and human-scale animatronics of Kusama placed in the window displays with the robotic replica of Kusama repeatedly painting polka-dots onto the surface of the glass.
      The pop-up spaces were used to display the limited edition collectionIn 2020, Kusama placed over 1,000 mirrored balls on the surface of a pond and wrapped trees in polka dots at the New York Botanical Garden as part of an outdoor exhibition.
      Louis Vuitton recently unveiled a collection of 200 trunks reimagined by 200 architects and designers, including Frank Gehry and Sou Fujimoto, to celebrate its founder’s 200th birthday.
      The photography is courtesy of Louis Vuitton.

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