The Ginza Namiki flagship is the founding address of Louis Vuitton in Tokyo — the building that has occupied a strategic street corner in the capital's most dense luxury district for forty years. Its 2021 renovation did not seek to erase forty years of history but to reformulate them in a contemporary architectural language — Jun Aoki's iridescent façade is simultaneously a reference to water, omnipresent in the Japanese imagination, and a proposition about what the façade of a luxury boutique can do in a visually saturated environment: not impose itself through colour or signal, but shift according to what is happening around it, like a natural surface. Peter Marino's interior deploys the fashion, leather goods, accessories and jewellery collections across four retail levels, with a private salon and the Café V and Chocolat V spaces at the summit.

The Omotesando address is the neighbourhood Louis Vuitton boutique — the one frequented by residents of Minami-Aoyama and Harajuku in a quieter, more residential environment that more closely resembles the way Tokyo lives luxury on a daily basis rather than on occasion. Jun Aoki designed for this address a Soft Damier façade — the House's Damier motif translated into curves rather than right angles, an adaptation of the graphic code to the Japanese context that says something about the way Louis Vuitton thinks its boutiques in Japan: not uniform, but calibrated to their precise environment.

Jonathan Anderson was appointed sole artistic director of all Louis Vuitton collections in 2025 — overseeing womenswear and menswear simultaneously. His first mixed collection, presented in 2025 in Paris, was accompanied by the first mixed campaign in the House's history. Anderson arrives at Vuitton with a reading of leather goods and clothing that privileges material over logo, construction over decoration, the intelligence of the gesture over the spectacularity of the concept — a reading that the Japanese clientele, which knows how to distinguish these things, receives with the same precision as it reads a saddle stitch at Hermès or a tweed at Chanel. The Ginza Namiki and Omotesando boutiques present these collections in spaces whose architecture was conceived for the same register: discreet in appearance, dense in content.

Marc Jacobs' collaboration with Takashi Murakami in 2002 — Monogram Multicolore, Monogramouflage, Monogram Cosmic Blossom — was Louis Vuitton's first official collaboration with a Japanese artist. It was followed by collaborations with Yayoi Kusama, Hiroshi Fujiwara, Nigo, Kansai Yamamoto, and references to Japan in the collections of Virgil Abloh, Kim Jones and Nicolas Ghesquière. This continuity is not a marketing strategy. It is the logical consequence of a fascination that dates to 1867 — when the Vuitton family looked at Japan for the first time at the Paris World's Fair and decided to retain something from it. The Monogram carries in each LV interlaced with a stylised flower the memory of that Japanese pavilion, a hundred and fifty years before Murakami reinterpreted it in colour.

On the occasion of the 2025 Osaka World's Fair, Louis Vuitton presented Visionary Journeys at the Nakanoshima Museum of Art — a twelve-chapter exhibition retracing a hundred and seventy years of the House's history through more than a thousand objects, two hundred of which were specifically linked to Japan. Florence Müller presented for the first time the portrait of Sameshima Naonobu, loaned by the Komaba Museum in Tokyo, alongside his entry in the 1874 client accounts book. The architecture was by Shohei Shigematsu, OMA — the sample from the Monogram canvas trademark registration at the centre of a circular room surrounded by Monogram bags from every era. The Monogram at the centre of its own history, in the country whose aesthetics inspired it.

Jun Aoki is the Japanese architect Louis Vuitton has commissioned to design virtually all of its façades in Japan for two decades. Trained at the University of Tokyo and under Arata Isozaki, he has developed for the House an architectural vocabulary that translates Vuitton's visual codes — Damier, Monogram, trunks — into forms that are legible in Japan without being folkloric. The Ginza Namiki façade imitates water. The Osaka Midosuji façade imitates the sails of Higaki-Kaisen ships. The Matsuya Ginza façade renders the Damier in Art Deco curves. Each façade responds to its precise location — the same attitude as that of Georges Vuitton in 1896 when he looked at the Japanese mon and decided they could become the Monogram.