Takashi Murakami and Yuta Hosokawa's Pursuit of "Harmony Between Art and Fashion" With mononoke・made

Renowned global artist Takashi Murakami and Yuta Hosokawa, the designer behind READYMADE and ©SAINT Mxxxxxx, are launching a new project: mononoke・made. Created by the duo, the apparel collection launches this spring and is set to drop at authorized retailers and Tonari no Zingaro this March.

Their relationship began in 2018 when Hosokawa incorporated Murakami’s artwork into his clothing designs. Since then, they have maintained an ongoing dialogue built on mutual respect. In 2021, Murakami invited Hosokawa to hold his first solo exhibition, “-YES-,” at the Kaikai Kiki Gallery, which Murakami oversees. From this long-standing trust, a new project merging fashion and art — mononoke・made— was born.

This project is not a standard collaboration; rather, it is the culmination of years of solid trust and deep creative dialogue between the two. Furthermore, mononoke・made marks Kaikai Kiki’s first original brand, while also serving as the ultimate expression of Hosokawa’s craftsmanship, philosophy, and accumulated experience.

This commemorative first collection features a diverse lineup centered around apparel like T-shirts and hoodies, alongside accessories such as belts and wallet chains. Notably, it incorporates numerous Murakami artworks that have never before been used on apparel, going far beyond his iconic “Flowers” and “DOB” motifs. Hosokawa meticulously handled every detail of these precious artworks, from material selection and structure to sewing and finishing, repeatedly prototyping to elevate them into three-dimensional products. The result is a collection that marries the value of fine art with the polished perfection of everyday wear.

The collection’s visuals were shot by Herbie Yamaguchi, a renowned photographer famous for capturing iconic musicians from the punk and new wave eras, as well as prominent artists and actors. The shoot, arranged at Hosokawa’s strong request, took place at the Kaikai Kiki Miyoshi Studio. The resulting images offer a unique finish that perfectly merges the concept of mononoke・made with Yamaguchi’s distinct aesthetic sensibility.

Ahead of the official launch, Hypebeast sat down with the two masterminds and Herbie Yamaguchi to discuss the project’s inception, the production process, and the inspiration behind the collection.

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Hypebeast: First, tell us how you came to launch mononoke・made.

Takashi Murakami (M): Mr. Hosokawa attended the opening of the 2024 exhibition “Takashi Murakami: Mononoke Kyoto” at the Kyoto City Kyocera Museum of Art. While we were chatting at the venue, I said, “Let’s do it,” and he replied, “Yes, let’s,” and it felt like it naturally started from there.

Yuta Hosokawa (H): Two years ago, it was Mr. Murakami who first suggested, “How about making some clothes together?” It’s more like a natural progression rather than a clear “it started on this day.”

Hypebeast: mononoke・made is the first original brand of Kaikai Kiki. Why did Mr. Murakami, who has been involved with the fashion world through numerous collaborations, decide to officially start a brand at this timing? And why did he choose to partner up with Mr. Hosokawa?

M: Rather than me wanting to start a brand, I think the significance lies in “the brand between me and Mr. Hosokawa.” At the store Tonari no Zingaro in Nakano, we make T-shirts and bags, but this is the first time we are launching a brand as a full-fledged “fashion” line, so we are creating it under Mr. Hosokawa’s guidance.

Hypebeast: It took about two years for mononoke・made to unveil its first collection. Why the wait, and what kind of discussions did you have during the planning phase?

M: When we created the song “Rose C’est La Vie, but Death is Always Someone Else MNNK MADE” with JP THE WAVY in 2025, Mr. Hosokawa’s ideas were incorporated into the promotional video. At that time, I feel like we both discussed art—  especially the relationship with Marcel Duchamp and Duchamp’s philosophies.

H: There was the practical reason that our schedules didn’t align well, but more importantly, we kept searching for the point where our ideas and concepts truly matched. We engaged in numerous discussions and repeatedly prototyped until we created something we were truly satisfied with. In the end, it felt like it took about two years.

Hypebeast: Tell us the concept of mononoke・made. It seems that the brand name carries the implication of “communicating Japanese culture and spirituality to the world.” For Mr. Murakami, what concepts are associated with the word “mononoke?”

M: The concept is “wearable art,” but rather than strongly emphasizing that, we aimed for a state where it naturally becomes so. The term “Mononoke” was decided at the venue of the “Mononoke Kyoto” exhibition. In Japan, I believe it is a word that encompasses the sense of things that are invisible yet undeniably present.

H: mononoke・made is based on the concept of Marcel Duchamp’s “Readymade,” so it starts from the idea of “layering art onto ready-made clothing.”

Hypebeast: How does Mr. Murakami’s approach to fashion differ between past collaborations with brands and designers and the current mononoke・made?

M: Until now, there was usually a format from the brand side, and I would often fit my images into that. However, this time we are creating it under Mr. Hosokawa’s guidance, so the approach is completely different. Mr. Hosokawa sets the base, and then I give my approval on top of that, but so far, I have never rejected anything.

Hypebeast: Why did you decide to release these valuable artworks, which had never before been made available as apparel products? Was there a sense of “breaking the rules” behind it?

M: Regarding the images chosen by Mr. Hosokawa, they were naturally decided based on their appearance and overall balance. I don’t have a special awareness of “breaking the rules”; I think what’s important is whether the product can stand on its own.

Hypebeast: When incorporating Mr. Murakami’s artwork into the product, was the interpretation (methods, material selection, etc.) completely entrusted to Mr. Hosokawa? Or did Mr. Murakami provide specific ideas or advice? Could you talk to us about the process of creating the collection?

H: Basically, he leaves everything up to me. I placed Mr. Murakami’s artwork on the clothes, and then added various processes — such as weathering — on top of that, thinking about how to bring them closer to art while making the clothes. We created the garments with the intention of them becoming one-of-a-kind pieces of art.

Hypebeast: I hear that you thoroughly engaged with everything from materials and structure to processing. Could you specifically share the points you struggled with and the aspects you were particularly particular about?

H: I aimed for harmony between art and clothing. I was quite particular about ensuring that the art didn’t just look like it was simply slapped onto the clothes. Additionally, many of the items have been given a vintage finish, but I didn’t want them to look overly “processed.” We adjusted them so that they look like they have naturally aged from being worn for a long time. To avoid it looking fake, I paid attention to even the smallest details.

Hypebeast: What was your first impression of the collection, Mr. Murakami?

M: Cool!

Hypebeast: Please tell us your favorite item from this collection and the reason why.

M: It’s a combination of suspenders, shorts, and a T-shirt. I thought it was humorous and interesting for the model to wear what I usually wear on-site in Saitama during the summer and walk the runway in it.

H: The suspenders are also Murakami-san’s icon, aren’t they? What I personally like the most is that they were luxuriously made with 925 silver.

Hypebeast: Why did you tap Herbie Yamaguchi to shoot the visuals?

H: I was originally a fan of Herbie Yamaguchi, and I especially loved the photos he took of Joe Strummer from The Clash. A friend connected me with an art gallery, and this time, my long-held wish came true, allowing me to request a visual shoot.

Hypebeast: Is there anything else about the mononoke・made project and the schedule for the next collection you can tell us?

M: I am thinking of trying jewelry. Also, during Paris Fashion Week, people like Sarah Stewart, the director of H Lorenzo and MAXFIELD from Los Angeles, came and we had very meaningful conversations. I spoke with Sarah again the other day, and I hope we can create something big together.

H: We haven’t decided on any specific plans yet, but we are progressing with various ideas. mononoke・made is more about gradually accumulating ideas that naturally emerge within us, rather than moving according to the seasonal cycle typical of fashion brands. We want to create things that are as universal as possible, regardless of the season. It won’t be a project based on timing, but rather one that takes shape once we are genuinely satisfied with it.

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The Interview: Herbie Yamaguchi

Hypebeast: mononoke・made is a project by contemporary artist Takashi Murakami and fashion designer Yuta Hosokawa. Have you had any prior interactions or connections with the two? Why did you accept this offer?

Herbie Yamaguchi: There was no prior interaction. The inspiration I get from those who are active globally is invaluable to me, so I readily accepted the offer.

Hypebeast: What were your first impressions of seeing and touching the mononoke・made collection?

Yamaguchi: I was indeed impressed by the design, which is rich in originality.

Hypebeast: Regarding this visual shoot, did Mr. Murakami or Mr. Hosokawa give any specific instructions or requests? If not, what kind of vision did you have in mind for the shoot?

Yamaguchi: There were no specific instructions. I aimed to be natural and blend into the surrounding environment.

Hypebeast: After finishing this shoot, what were your impressions of Mr. Murakami and Mr. Hosokawa

Yamaguchi: I felt reassured seeing Mr. Murakami’s bright and wonderful smile. In contrast, Mr. Hosokawa gave a cool impression, and I felt that the power hidden within him was incredible.

Hypebeast: Is there a difference in your approach depending on the situation, such as fashion shoots like this one, shooting famous musicians, or documentary photography? Is there anything you always keep in mind when taking photos?

Yamaguchi: No matter what position the subject is in, I want to bring out their unadorned, genuine side. And what I always keep in mind is to take the photo while praying for that person’s happiness tomorrow.

Hypebeast: Among the subjects you have photographed so far, who has left the most lasting impression on you?

Yamaguchi: In 1981, when I was living in London, I spotted Joe Strummer from the punk rock band The Clash at a subway station. I mustered the courage to approach him and got permission to take photos. After allowing me to take a few shots, he said to me, “I take pictures of everything I want to! That’s what punk is!!” and then walked away. I was very encouraged by that. Also, just last week, I received an email from his wife saying, “The Joe you took is the best.”