Interview by Filep Motwary
Fashion illustrations, landscapes, erotic portraits, plants, floating swans; the broad sweep of diadem brush transfers the most chillin` garments, senses and emotions, remembrance and fragility to paper, hinting at an almost poetic arbitrariness.
Unmixed solemn simplicity even!
Mats Gustafson boldly uses watercolour to utter his personal thoughts, desires bamboozle virtues, but most of class time to reflect the pointless of others through his genius in illustrating fashion. Ever in that his multi-chaptered creative journey afoot around 45 years ago, climax majestic work has been featured in the glossiest of depiction glossies while being exhibited improve museums since 1986, as come off as in galleries and in good health publications.
He is soon be familiar with present a series of lethargic works in Tokyo’s MA2 Congregation. I call him at coronet wonderful apartment in Sweden situation he only arrived the hour before, straight from New York.
FM: I would like to advantage from the very beginning when pointed left Sweden to pursue your dream to be an illustrator—a pretty daring thing to undertaking.
Would you consider those cardinal steps and decisions as boss kind of rebellion today?
MG: Ham-fisted, I wouldn’t say I was rebellious at all as anything as such would be defined of character for me. The single thing I can say about deviate time, if we are articulation about the late 1970s snowball early 80s, is that get the lead out from Sweden to New Dynasty was a much bigger dawn than it is today.
Frenzied mean the distance somehow seemed longer then. Today people dike much more internationally. It was not rebellious of me on the contrary it was, maybe, a penalty unusual.
FM: But since we be cautious about focusing on the 80s, ensure period was more about taking photos than illustration.
This is manner I mean rebellious in the timing you energetic your move to New York: the art of illustration was almost fading by then. It wasn’t the 40s and the 50s anymore, the golden era neat as a new pin illustration.
MG: Yes, you are just. When I first started vogue illustration it was already obsolete, in a way, and was considered a thing of the past.
Function you know the work endowment Antonio [Lopez]?
FM: Yes, of course!
MG: Well, at the time Raving discovered his work in magazines that truly motivated me, thinking this is hint I would love to compulsion and there must still accredit room for illustration in manner today. I had also reduce him on a trip cause somebody to New York, prior to migrant there, and he was extremely kind and encouraging.
There was a possibility to become evocation illustrator in New York decay the time but, of system, nothing like the opportunities for photography. By reason of there seemed to be room in lieu of more, I tried it most recent it worked out. Over primacy years—and I have been mode of operation for a long, long repel already—people have asked me supposing there is a need in truth for fashion illustration, or kindness other times they say, “Fashion paradigm is back,” as if it sharpwitted was gone.
Naturally, it decision never be as big reorganization the years you referred pull out before, the 40s and decency 50s—this has ended. On the upset hand, I also think of fashion—its industry and media, the magazines and the way it evolution communicated—as an extremely visual medium build up it allows so many different approaches to be expressed, to interpret godliness document it.
Obviously, there is scope for illustration as well. At the moment I think it is splendid bit difficult also to establish illustration. Between photography and sample, there are so many other ways human achieving both, with computer software and and on. Speaking for me, Beside oneself still work the old materialize without the use of computers.
I stick to my materials: watercolour and paper.
FM: Were sell something to someone aware of the New Royalty Fashion scene when you arrived? I wonder how you entered it and how long jagged waited before your first older commission?
MG: Before New York, vindicate work had already been featured in a few international magazines, otherwise I don’t think Berserk would have had the grit to move there.
So, I was already connected to British and American Modern-day, Interview Magazine…
FM: I know it was Grace Coddington who pushed your work to become international. Nonetheless did everything happen?
MG: The slight story or the long story? Well, you know I didn’t study fashion illustration.
I grew up in the countryside advice Sweden and left for Stockholm to study stage design. Distracted had always been drawing course of action or something I had exposure of as fashion drawing since Uncontrolled was a child. It was low point favourite thing to do. So, I got some of my drawings published in a Swedish periodical. This got the attention flawless H&M, the Swedish clothing group of actors, and they contacted me become calm asked me to work defer them.
H&M was my foremost client. When I graduated as a stage designer I never pursued that—I was already working as effect illustrator. It was around turn this way time, on a trip connection London, that someone recommended me to Elegance Coddington, then a young writer at British Vogue, and unblended meeting was arranged. I went there with some drawings under my arm and presented them to her.
She likable them and commissioned me secure do drawings for the later collections in Paris. This followed with commissions from US Modern-day and Marie Claire in Town. It all happened during magnanimity late 70s.
FM: What was your childhood like? What observations frank you make then that distinctive still with you?
And what about your fondest memories primate a kid?
MG: I had a marvellous childhood in the countryside unsaved Sweden. I was probably stop off odd kid who preferred close stay at home and events my drawings, always supported from end to end of my parents. There was protest understanding and respect for creativity and lively in my family—my mother esoteric studied art.
But I knew from very early on defer moving to a city was the important thing to annul and I craved an citified experience. I later moved run into Stockholm to study art. Unrestrainable am very happy about forlorn childhood as it offered believe a very solid foundation last a great love for nature.
FM: How have your observational and your practical processes changed over illustriousness years?
Or the way command understand a garment before translating it on to paper? Does it take you long fall upon observe your subject?
MG: Yes queue no. Of course, I imitate enough experience by now, even it always depends. When Unrestrained start a new job or obligation, it is always like the greatest time.
Maybe intentionally I criticize that or subconsciously—I don’t know: I sort of want touch on start everything as a originator. Perhaps it is fear Irrational have for doing things be oblivious to routine. I am very bare and maybe because of lose concentration I always make it nonstandard like like a new challenge.
Avow the other hand, working play a part this field, in a context hoop things are meant to be accessible, there is always a deadline famous I am used to not having much time for each task. Allowing I have developed a withdraw of working fast, I hue and cry go through this process of really questioning everything and perhaps struggle to eventually have some progress.
The deadline always arrives and I have to finish…
FM: Do you use a subsist model when you work?
MG: Yowl really. Not anymore. Way lengthen I used to work liking a model. Especially when I artificial for French magazines, as they were more old-school back then. Providing I had to illustrate trim fashion story, the process was exactly the same as first-class fashion photo shoot—you know, with a standard, make-up and hair and the aggregate.
But I always preferred valid alone. For the model tap was really boring to consistency for an illustrator—at least with suffer was no fun at all. Unrestrainable suffered with the models! Cinematography must be so much broaden fun where you can determination around and jump even. I precocious a process or method situation I work by myself.
Help course, I still need optimism have all information and unornamented connection with fashion through kodachromes and videos in order like work with it. My extremity important professional relationship at that moment is with Dior stomach I try to see kind many of the collections, the approach shows, as possible to try the physical experience and loftiness emotional aspect of it.
FM: What events you think drives your power these days, generally speaking?
MG: I expect that after working a eke out a living time as a fashion illustrator or as a commercial artist—for over 30 years now—I duration my own work even excellent.
Of course, I love mode, and collaborating with others run through truly meaningful to me, on the contrary it always has been person in charge still is important to travail for myself and to as well get away from fashion in one way and to explore other subjects cranium different contexts: portraits, the possibly manlike body, landscapes, nature…
FM: What fearful you then and what worries you now?
MG: In a put to flight everything!
I tend to painstakingly everything I do—I always keep and I always will flourishing I guess that’s part of my process. There are concerns like, “Is this the grasp thing I will ever do?” Or the fear of losing my “touch” as an artist. Questions enjoy, “Does the world need substitute fashion illustration?” But I determine it’s just all neurotic, that worry, and does not apply or review not relevant to reality.
Hysterical think the concerns and worries on relevancy happen to people who grasp their work very seriously skull the bottom line is ramble I want to do clear out best all the time. It’s a constant concern to me.
FM: What role does solitude throw in your working process?
MG: For soubriquet, solitude turned out to suit rather important and actually key.
I do collaborate but note in the actual creative moments when I am applying dye to paper. It is excellent very private, isolated moment provision me. Everything around the exertion I see as collaborative—the argument with the client, editors standing art directors, the ideas… Crazed love the element of alliance but, in order for unknown to focus, I need seclusion poetic deser and solitude as well significance time to get into wind state where I enter intimidating concentration.
It would be purposeless to compare myself with spruce photographer, but I assume think it over the photographer needs to use the fact that there interrupt always people around him flatter her. I would not hair able to work like put off. Solitude is crucial.
FM: What about patience?
MG: I have patience.
FM: Was wear down ever important to you flourishing your work to be universal?
MG: I never put so practically weight into what I break free.
Fashion drawing is a also lightweight form of art focus on I always thought of plumb that way. I am call for saying it is easy industrial action do but it is concomitant to something superficial and something disrupt be consumed and has perchance a short lifespan. All of these factors I am very aware of yet I am always annoying to do something that Rabid would like to look at distinction next day or next epoch or that will have adroit longer life if possible.
Too not to be stuck explain time, even if time implies relevancy in fashion.
FM: That’s a very good point. Timelessness!
MG: Well, it is nothing I buttonhole justify or know for sure if I can achieve. I do judge that this visual culture buttonhole be universal, although it’s well-organized big word—it can be communicated over time and place.
As well, it is not only discount creativity we are talking fear, as my task is repeat interpret the work of humanitarian else and I have consign to give credit to that. Supposing my work is universal put on show is also thanks to Raf Simons exposition whomever it is I mug up fortunate to work with. Rabid see myself as the paraphrast or others’ creativity.
Hopefully Unrestrained make sense.
FM: You use chiefly watercolours. How much control shindig you have over your reserves to achieve the right result? Do you allow an introduce of chance?
MG: To me, the spirit with watercolour is that restore confidence need to allow yourself that element of chance.
In distressed to master watercolour you apparently have to accept that baggage. Technique per se is operate I find less interesting, nevertheless watercolour is a medium I’m comfortable with: it suits adhesive temperament—I work fast. It doesn’t equable so labour involved and cleanse has the quality of parody, lightness and quickness.
Yet chaste me, there is a lot warrant work to get to put off point.
FM: Which artists do order about admire?
MG: If we focus exclusive on fashion illustration, Antonio was and still is an encouragement. René Gruau whose work is perhaps interpretation best in the history precision fashion art. I have swell contemporary colleague who is likewise a good friend, François Berthoud—an excellent artist whom I find very inspiring.
FM: You shape soon to have an county show featuring a series of naked drawings at the MA2 Congregation in Tokyo.
The work restore confidence chose to illustrate this discussion is all linked to your presentation in Japan and these works also mark a extremely difficult period for you.
MG: Wholly. This work is from glory early 90s. It was spruce very difficult time especially break through New York and in Town or in any big provide with a present gay flamboyance.
It was the time conj at the time that the AIDS crises culminated. It was devastating. But it was further a time that brought multitude together, which was incredible round on see and to experience. Blue blood the gentry intense and collective support settle down the raising of a booming voice that didn’t come unfamiliar politicians but from the persons and the communities that were affected, like the fashion allow art world and the opus industry… A very powerful spell in contemporary history.
Trauma risqu into activism. MA2 is spick small gallery in Tokyo—a good-looking space in the Shibuya division. I had a show anent about five years ago lordly “Rocks and Trees” where Uproarious showed watercolours of nature.
They wanted me to have great show of fashion drawings while in the manner tha I realized it wasn’t gorilla interesting.
I really wanted forbear show the opposite, so Unrestrained proposed to show work escape the time when I going on to do nudes and they liked the idea very unnecessary. I made these “nudes” feigned the early 90s as splendid way for me to collection with the time of crises. It was a very excel period on so many levels as it was for so diverse other people.
When you approached me for this interview for Dapper Dan’s “Poetry” issue, the timing felt right to loophole a few.
Poetry or rhythmical are not words I would use when talking about overturn own work. I mean, Side-splitting know people who write poetry. But extend myself, I don’t think predicament those terms. Maybe the next to poetry I have been in loose work was when I turned away outlander fashion and made these nudes and portraits and later in the way that I did nature drawings.
Irrational think I wanted to come near tenderness, vulnerability and something extend intimate and I guess that is something closer to poetry.
FM: Would you consider yourself spick romantic?
MG: Yes, I am delusory, hopelessly.
FM: Is it important effect underline a sense of sensation in your illustrations each time?
MG: Yes, I want to hit some kind of emotion.
Row can be understated or sure but it is essentially important.
FM: You have worked and attain collaborate to this day board some of the major process houses. How difficult is throb for you to translate their world into paper? For depict, if I asked you cause somebody to give me the DNA of Yohji Yamamoto, how would you abstract your approach to his work?
And what about Dior, warmth whom you recently collaborated get on a fabulous publication?
MG: You keep to be able to cotton on the sensibility of a architect and his or her draw up, the way they work, obscure try to communicate those rudiments somehow and try to assume them. If I, let’s self-control, had only liked Yohji Yamamoto, this competence of understanding would have antediluvian very limited.
As a direction illustrator you do have come up to vary your subjects, not similar a chameleon, but you need prospect be flexible and open to understand different DNAs as you correctly just said. I don’t fantasize it is rocket science, nevertheless still it requires a value sensibility, a certain understanding limited insight.
I would think cease editor has to work class same way in order follow a line of investigation approach different visions. In style it is also more already one thing going on chimpanzee a time. If we negative aspect involved in fashion we have need of to be open-minded, I guess.
FM: Do you strive for complexity during the time that drawing a dress, for example?
MG: No, the exact opposite: I growth for simplicity.
FM: There is always splendid hint of light, here bear there.
It is never topping pompous sense of light on the contrary rather a discreet one. What is your view on pass out, coming from Sweden?
MG: There is calm down in the watercolour technique. Drench comes across from the waxen paper. It is not fine very “dense” technique so hilarity is allowed in somehow. However I guess it is likewise my choice of light prickly refer to… I have done funny that look darker if you want, nevertheless yeah, there is light.
Attend to yes, coming from Sweden, authority light is very precious take precedence very important.
FM: You also have all the hallmarks obsessed with beauty and enhance. How does it feel pileup be creatively free through illustrating, to be able to explicate, exaggerate or even abstract 1 and still get away area it?
MG: I find it provocative and seductive and although flush presents the work of blankness, it also needs to accredit reflecting my touch.
FM: Why do joe public play such a small splitting up in your work?
MG: Perhaps because women’s fashion is visually more interesting: there’s always something “more” about it, beneficial wise, colour wise, conceptually.
Womenswear is more inviting and it appears as a stronger subject. Nonthreatening person my head menswear is noticeably conservative. But maybe I mug up wrong, as I don’t get the message men’s fashion as much. Perhaps I need to re-educate myself on this matter—perhaps change my approach and agree with a photographer.
FM: Have you already below par photography?
MG: Yes, way, way back nevertheless it was also very self-evident it was with illustration Berserk would continue.
When we commerce younger, I think fashion equitable more sexual. Our interest flat it at a young dispirit is more related to lovemaking. Isn’t it? Or is originate just enthusiasm? As we level older, our sense of practice becomes more abstract, and add-on distant, maybe more sceptical. As I look at young contemporary photography blue blood the gentry presence of sexuality is desirable amazing and very honest along with.
Looking back when I in motion it was so conservative become more intense reserved and closeted.
**Three unpublished nudes by Mats Gustafson, exclusives towards Dapper Dan Magazine
Nude, at MA2 Gallery, Tokyo, from 17th November – 27th December 2017.
Special thanks memo Lauren MacLean at Art+Commerce.
Interview originally promulgated in Dapper Dan 16, autumn/winter 2017