The Kid LAROI’s tattoos are best understood through the stories he told in GQ’s Tattoo Tour. He does not present a fixed catalogue of perfect flash designs. He talks about a friend he lost, his mother, Juice WRLD, Post Malone, tour mates and several impulsive ideas that simply looked good at the time. That mix gives the collection its personality.

He also makes the limits of the record clear. Some tattoos have a precise explanation, while others are remembered as a drawing from a tour, a birthday-party experiment or a picture someone sent him. The guide below keeps the designs separate and uses LAROI’s own account for the meaning instead of assigning symbolism to every small mark.

The Saik memorial and the sailor-style “MUM” tattoo start the collection

LAROI says he was 18 when he got his first tattoo: a memorial to his friend Saik, who had died. He wanted his first piece to be something he would not regret a few months later, and he says he could never regret putting Saik on his skin. That is a much firmer explanation than the usual fan descriptions that identify a shape but cannot say who or what it represents.

He remembers the anticipation being worse than the needle. People had warned him that tattoos hurt, so he was surprised to discover that the tattoo was already underway while he was still waiting for the pain. The anecdote is light, but the tattoo itself is not: it marks the beginning of his collection and a friendship he wanted to carry with him.

Next to that memorial story is the sailor-style lettering that reads “MUM”. LAROI explains the spelling directly. As an Australian, he grew up using “mum,” while classic American tattoo lettering often says “MOM.” He chose the U without expecting it to become a recurring joke, then found that people noticed the difference immediately. The word is simple, but the spelling gives the family tattoo a distinctly Australian detail.

The Saik memorial and the “MUM” piece should remain two separate entries. One is a tribute to a friend who died; the other is a direct reference to his mother. Their emotional weight is different even though both are family-and-friend tattoos.

The alien with a cookie, the spider girl and the world for Juice WRLD

One of LAROI’s more unusual designs shows an alien returning a chocolate-chip cookie to its UFO. He says he and his family have always been interested in aliens, conspiracies and that kind of subject. His explanation is deliberately playful: the alien comes down to Earth, decides the place is terrible, but finds one excellent thing in the chocolate-chip cookie and takes it back home.

That story matters because it resists the urge to make the tattoo solemn. The design is a family in-joke built around a small science-fiction scene. The UFO, alien and cookie are all part of the same visual gag, so describing only an “alien tattoo” loses the detail that makes the piece recognisable.

He also shows a girl holding a spider. LAROI says it is the only tattoo on his arm that has no particular meaning. An ex-girlfriend sent him the picture, he thought it looked cool and he decided to put it on his hand. That is the complete story. It does not need a hidden interpretation added to it, and LAROI’s lack of a deeper explanation is itself useful information.

The world symbol connected with Juice WRLD has a different kind of meaning. LAROI explains that the world shape gave him a way to keep Juice with him without covering his body in portraits of friends. He calls it a symbolic connection to Juice and says the tattoo was extremely painful, even compared with work on his hands, knees and ribs. The design is therefore both a memorial shorthand and one of the strongest pain stories in the tour.

Those three designs show the range of his collection: a family joke, an attractive image chosen without a stated meaning and a carefully chosen symbol for a mentor and friend. Treating them as though they all carry the same kind of message would flatten the article.

Post Malone’s cowboy and the tour tattoos preserve friendships

The most memorable collaboration is a stick-figure cowboy with angel wings, a cowboy hat and clogs. LAROI says Post Malone drew it on him when the two were hanging out and decided to tattoo each other. Post made the design up as he went, adding the clogs and hat to a simple stick figure. LAROI liked the result and asked for an arrow and wording that identified Post as the artist.

The attribution is part of the tattoo, not an afterthought. LAROI says Post was a major inspiration and that he wanted the piece to remain a permanent memory of the night. The roughness is part of the appeal: this is a freestyle drawing between friends rather than a polished studio illustration.

LAROI also tattooed Post Malone, but that mark belongs to Post’s body, not LAROI’s inventory. He says Post was in a hurry to use the bathroom, so LAROI put a sad face on his kneecap with the words “I have to shit” underneath. It is a funny part of the story, but listing it as one of LAROI’s tattoos would be an obvious factual mistake.

Several later pieces came from touring. Callie drew a design on a piece of paper from LAROI’s End of the World Tour merchandise, and LAROI put that drawing on his knee. He says the group then got matching versions. Central Cee tattooed another design during a music-video shoot. LAROI describes both tattoos as records of specific friendships and work moments, not as symbols whose meanings need to be guessed.

His smaller experiments include a thorn-like design found by his friend Dev and a small love heart he got at a birthday party. LAROI says the heart was partly an experiment to find out what a rib tattoo felt like. That explanation is unusually honest: the piece does not need a grand backstory when the reason was curiosity and the experience of getting tattooed.

On his ribs, he shows a kitten holding a mushroom. The design came from the first Europe tour, where people involved in the trip got kitten tattoos holding different objects. LAROI’s kitten carries the mushroom; another person’s kitten held clothing, and two kittens were shown playing ping pong. The shared format gives the tattoos a group history while the object in each design keeps the individual version distinct.

Finally, LAROI points to the word “towers”, which Callie drew and which he says reminds him of home. He does not expand the word into a detailed private explanation, so the safest account is the one he gives: it is a home reference in lettering made by a friend.

The Kid LAROI’s tattoo record is strongest when it stays this specific. Saik’s memorial, the Australian “MUM,” the alien and cookie, the girl with the spider, the Juice WRLD world, Post Malone’s cowboy, the tour drawings, the kitten with a mushroom and the word “towers” all have different origins. Some are memorials, some are jokes and some simply preserve a moment with friends. Keeping those differences intact makes the collection more interesting than a generic list of ink.