Takashi Murakami Speaks On His Collab — The HUBLOT MP-15 Tourbillon Sapphire Rainbow
The making of the latest collab timepiece between the Swiss watchmaker and Japanese contemporary artist.
Before the launch of the latest collab timepiece creation between HUBLOT and Takashi Murakami, we went on Zoom to have a quick chat with the celebrated Japanese contemporary artist, famed for melding the aesthetic of the Japanese artistic tradition with contemporary art and culture. His iconic smiling flower has been brought into HUBLOT’s watchmaking universe through several collaborative pieces. Born from a shared passion for breaking down boundaries and going beyond expectations, the MP-15 Takashi Murakami Tourbillon reimagines Murakami’s smiling flower into a wearable sculpture that seamlessly merges contemporary art, avant-garde watchmaking and exceptional gem-setting.
L'OFFICIEL: What led you to create the smiling flower?
TAKASHI MURAKAMI: My background is in Japanese traditional art and I studied in university under professors who were traditional painters. Historically, Japanese art and paintings focus on the mythical, including legendary animals such as dragons, as well as natural elements like snow and flowers. A popular Japanese artistic theme is flowers so when I first started designing the smiling flower, I was mixing the contexts of historical paintings with Hello Kitty, a contemporary pop-cultural character.
LO: With your history of working across multiple mediums, from fashion to animation, what drew you to the world of luxury watchmaking with HUBLOT?
TM: For about two decades, I have admired complexity in watchmaking and I was most impressed with HUBLOT. My collaboration with them allowed me to create my design from scratch in the world of Swiss watchmaking. It all started about 20 years ago when I had the opportunity to visit a watch fair in Basel with an invitation from a Japanese journal. That led to my first contact and meeting with HUBLOT and Ms Miwa [Sakai, Hublot President Asia Pacific Region], who approached me for a brand collaboration. At that time, I noticed HUBLOT was a high-end brand that was very sporty based on the materials they were using. I also heard it was very compelling, especially for young watch enthusiasts, leaving an indelible impression on me. I had this notion that if ever there was an opportunity for me to work with HUBLOT, I would probably target very young people, and that’s how it has turned out in reality.
LO: How did your smiling flower signature evolve into the MP-15?
TM: I suppose I could propose other art motifs from my collections and works. However, this is a collaboration that simply cannot fail, and that being the case, HUBLOT’s favourite was my smiling flower design and they requested it when I decided to accept the offer to collaborate.
LO: Like your artwork, what lines are blurred and boundaries broken by this new watch for you?
TM: For my collaboration with HUBLOT, I always wanted to start creating the watch case or structure from scratch. This time, I was able to do that with the tourbillon so I think this collaboration journey has been progressing, reaching a higher stage with this model.
LO: In terms of elements and the intricate arrangement of colours and gemstones, what was your inspiration for this watch?
TM: I had put in a lot of effort for the previous model where the watch was transparent in design. That model proved to be quite successful and HUBLOT was happy to embark on a more “glamorous” design for this model — full of gemstones as you can see.
LO: Art and watchmaking — how are they similar?
TM: I think there are many similarities between them. With art and design, in the case of design, it is about a particular moment, not about three months from now. When it comes to art, it covers a much longer period and possesses longevity. For example, in art, even when we pass away, it should still be relevant. I think watchmaking also covers a long period, so in that sense, art and watchmaking are similar I would say.
LO: What is the philosophy in channelling creativity for you?
TM: This goes back to my earlier response to your question, I believe as an artist, even after we pass away, the art must remain relevant and appreciated.
LO: How would you describe the creative signature between your artistic vision and approach and HUBLOT’s innovative watchmaking?
TM: When we first collaborated, HUBLOT came up with the most perfect sapphire crystal design that was way beyond my expectations. I was moved by that so it is not so much what I did as they did all the work. I’m just very happy that they did so much for my design.
LO: What are some interesting highlights and unexpected moments from your HUBLOT partnership?
TM: There was an occasion when I had the opportunity to visit the HUBLOT manufacture in Switzerland and I saw they had a computer for producing smartwatches. The facility was enormous at three to four storeys and that was an impressive moment for me. Another time, HUBLOT organised a very big celebration party for me in Singapore that was unexpected.
LO: What was your journey in the world of contemporary art like, and what views do you hold about its future?
TM: I emerged in the art world at the same time as some other artists. To be honest, the Japanese contemporary art world rejected us at the time. Slowly I began to be involved in art exhibitions outside of Japan and after being active internationally, I was able to put on exhibitions in very large international art museums in the absence of people who were critical of my art. Ever since then, people who became followers of my artwork began to increase in the art world. I believe it is high time that young Japanese artists with totally different concepts emerge and take over from our generation.
LO: After this collaboration with HUBLOT, where are you headed next in your creative journey?
TM: Right now, I am working on my collection for an exhibition at Gagosian, London, in December this year. It is a series of artworks inspired by the Edo era in Japan that “overlaps” with the Disney+ drama called Shōgun.
