3/09/2024 Arriving in Tokyo for the first time, I am immediately struck by the realisation that one visit will not suffice. This city, with its electrifying energy and dynamic contrasts, stands in a category of its own. Every attempt to compare it with other global capitals falls short- Tokyo remains peerless. As I immerse myself in its cultural vibrancy, I am torn between a strong sense of contentment and the nagging question of when I will find the time to return, especially with university looming just around the corner.

Currently staying in Ginza- known for its polished streets and high-end boutiques- I discover Gucci’s exhibition, “Bamboo 1947: Then and Now”, hosted in their Gucci Ginza gallery. Celebrating the 60th anniversary of Gucci’s introduction to Japan in 1964, the exhibition spans two floors and presents a meticulously curated selection of the house’s iconic Bamboo 1947 handbags, blending archival treasures with contemporary designs. The story of this emblematic bag begins with Guccio Gucci and his Florentine artisans, who, amid post-war material shortages, turned to bamboo as an innovative alternative for bag handles. What began as a resourceful choice evolved into an iconic design adored by celebrities and collectors worldwide.

Featuring nearly 400 handbags, the exhibition offers a retrospective of Gucci’s craftsmanship, a testament to the maison’s enduring influence in luxury. Yet, what truly sets this exhibition apart is the collaboration with local Japanese artists, each presenting their unique interpretation of the Bamboo 1947 bag. Among the notable contributors are goldsmith Morihito Katsura, lacquer artist Ai Tokeshi, ceramist Hirotsune Nakazato, renowned photographer Daido Moriyama, and painters Yui Yaegashi and Nami Yokoyama. This dialogue between artistry and fashion not only showcases the bag’s evolution but also its cultural resonance.

Tokyo: BAMBOO 1947: THEN AND NOW

- A Review by Lawrence Murray

A video accompanies the exhibition, offering insight into the artists’ creative processes. As Yui Yaegashi reflects, “I care less about the end result of a painting, and more about the process of making it,” echoing Gucci’s emphasis on craftsmanship. The materials, precision, and heritage of each piece ultimately are meant to justify the luxury price tag, with a medium-sized Bamboo 1947 model priced at $5,600. However, one can’t help but wonder if this exhibition is a celebration of artistry and Gucci’s relationship with Japan- or merely a savvy PR move, particularly in light of a recent Italian investigation revealing Dior’s $57 production costs for bags sold at vastly inflated prices.

Still, the exhibition succeeds in delivering a visually captivating experience. Collaborations between luxury brands and artists aren’t new; take, for example, Louis Vuitton’s partnership with Yayoi Kusama, whose signature pumpkins and polka dots transformed their products into near-art/collectable objects. Similarly, Gucci elevates its handbags through this artistic collaboration. While it undoubtedly serves as a commercial tactic, it also brings welcome attention to both the artists and the art world- a development I support when executed with thoughtfulness (unlike, say, Uniqlo’s over-commercialized Basquiat T-shirts, but that’s a discussion for another day).

In this case, Gucci’s collaboration feels genuine. Some of the artist-designed bags are nothing short of exceptional, and the exhibition’s curation is thoughtfully executed. Art objects displayed alongside the handbags subtly highlight the mutual influence between Gucci’s designers and the broader art world, underscoring the ongoing symbiotic relationship between fashion and art.

The selection of artists reflects a careful balance of mediums and styles. Nami Yokoyama, known for her neon installations and hyperrealistic paintings of neon signs, adorns the bags with vibrant, illuminated words, displayed in a circle beneath a striking neon sculpture. This arrangement demonstrates Gucci’s commitment to maintaining the integrity of the exhibition, setting it apart from a mere boutique- despite the fact that the bags will be available for sale after the exhibition ends.

Photographer Daido Moriyama’s contributions are particularly noteworthy. Known for capturing fleeting moments in Japan’s rapidly shifting urban landscape, his process-driven approach translates beautifully into his work for Gucci, where images are printed directly onto the leather- my personal favorites in the collection. Yui Yaegashi’s abstract paintings, with their clean, geometric lines, contrast elegantly with the organic curves of the Bamboo 1947 bag handle. This thoughtful juxtaposition exemplifies the richness of this collaboration.

If you find yourself in Ginza, I highly recommend visiting “Bamboo 1947: Then and Now”. The exhibition deftly intertwines craftsmanship with artistic vision, offering an insightful exploration of one of Gucci’s most iconic creations. More than that, it encapsulates Tokyo’s unique energy- an exhilarating blend of tradition and innovation that leaves me eager to further discover all the city has to offer.

“Bamboo 1947: Then and Now” runs until September 23, 2024.