Pierre Hermé, a pastry chef known as the "Picasso of the patisserie world," has a deep connection with Japan, having opened the first Pierre Hermé Paris store here 15 years ago. We spoke to him about the past and future of the maison, including the secret to its originality and the source of its outstanding creativity.

--This year marks the 15th anniversary of the opening of the maison. How do you feel now?

This is just the beginning. 15 years may seem like a long time from a brand's perspective, but to me it feels like it's just flown by, and it's still not that long.

--The fact that Tokyo was the location of your first store is both an honor and an interesting one for us Japanese. Why did you choose Tokyo?

A number of coincidences came together. I met President Otani at an event held at the New Otani Hotel in 1987, and he asked me if I'd like to open a shop in his hotel. Another happy coincidence was that President Otani, unusually for a Japanese man, loves sweets (laughs).

--Japan's culture is different from that of Paris and other Western countries, so wasn't it a courageous decision in that sense?

I had no such concerns. There are many French pastry chefs in Japan, and Japanese pastry chefs who trained in France have opened shops after returning to Japan. Aren't there more good shops and patisseries in Japan than in Paris? I think Japan is the country with the greatest understanding of French sweets, except for France.

--Mr. Hermé's own business has expanded beyond sweets, with collaborations with Renault and the Ritz-Carlton, among other things.

It's a lot of fun working with artists. I collaborated with product designer Matali Crasset to create cake knives and utensils for Alessi, and with silverware brand Christofle to release cake forks. I also collaborate with other designers on packaging and cake designs. Artists are people from worlds I'm unfamiliar with, so these interactions create a rich world.

--What is your most memorable collaboration?

It's difficult to compare. Meeting people is a coincidence, and each artist has their own personality and values, which create rich experiences. I'm currently in contact with sculptor Bernard Venet, as I'd like to meet him. He exhibited a large iron sculpture at the Palace of Versailles two or three years ago.

--You collaborated with Azuma Makoto for the party when you visited Japan.

I encountered Azuma's work earlier this year and was deeply moved. He doesn't just arrange flowers, he expresses art through flowers. I had never met an artist like him before, so when we first met, I couldn't bring myself to leave him even after the originally scheduled two hours, and we ended up talking for hours.