——The beginnings of a relationship

I have lived in Paris for over 40 years, though I often travel back and forth between Paris and Japan. I began working with Hermès in around 1994. In 1996—when the maison’s annual theme was “La Musique”—I drew my first illustrations for Hermès, Quatre Saisons, for the Spring/Summer issue of Le Monde d’Hermès. I remember sitting at a small table with Jean-Louis Dumas, who was then chairman, trading ideas back and forth as I sketched. “How about this?” I would ask. “What about that?”

——Drawing in collaboration with Studio Dessins

Whenever I work with Hermès, it always begins with them asking me what I want to do and me responding with something I have in mind. What is endearing about the carré is not only its visual elements—its appearance and graphics—but also its sense of history as a record of the artist’s style and world. The works I create are, of course, different from those who have come before me, but it is wonderful to be a part of the history they have created.

Hermès is a place of humour and fantasy, so when you are creating something for them—perhaps a carré—it is important to know what kind of story you want to tell. When I collaborate with Hermès Studio Dessins, I first come up with a story and then incorporate it into the artwork.

——Kacho-fugetsu in a Paris atelier

The theme of my atelier is kacho-fugetsu. Literally “flowers, birds, wind, moon”, this Japanese phrase is an expression signifying respect for nature—a concept that I have valued for a long time. Each wall is decorated with one of the four elements in the phrase. It is a small space, so it feels like being inside a Japanese lacquer bowl painted with images in vermilion red.

——The origin of the rabbit

The many rabbits in my works have to do with my first time coming to Paris. I was young and excited, so I was looking out the window as the plane descended towards Charles de Gaulle Airport. I saw a lot of movement on the grassy areas by the runway, and it turned out to be a large group of rabbits. I didn’t know anyone in Paris at the time, which means that those rabbits were the first to welcome me. That image of the rabbits stayed with me, so I began to draw them.

——Life in Paris

I have been living in Paris for about 40 years now. Even after all this time, people sometimes tell me that I am very Japanese. Perhaps it is because of the way I draw lines, in an almost calligraphic style. That might be something that stands out about me.

——Japanese culture, French tradition

I was really impressed by Ginza Maison Hermès. There is always tradition and innovation in Hermès, and there is always humour. Ginza Maison Hermès is a fusion of all these elements, and I think it’s wonderful. Every time I visit, it feels fresh and new.

Both France and Japan have great respect for history. We care for objects deeply and value our traditions. At the same time, we also embrace innovation. That’s something that France and Japan have in common.

What is petit h?

The petit h collection makes use of a wide variety of materials lying dormant in Hermès’s studios, such as silk, leather, fabric, porcelain, crystal, and precious metals. These materials are transformed into fresh, new objects in the spirit of reinvention and sustainability. Godefroy de Virieu, the creative director of petit h, leads a team of skilled artisans from every Hermès division, who collaborate with artists and designers to create unique, functional objets.