Mats gustafson fashion illustrator biography channels

Interview by Filep Motwary

Fashion illustrations, landscapes, beddable portraits, plants, floating swans; the allembracing sweep of his brush transfers authority most exquisite garments, senses and inside, memory and fragility to paper, characteristic of an almost poetic arbitrariness. A grave simplicity even!
Mats Gustafson boldly uses watercolour to express his personal brush off, desires or virtues, but most complete the time to reflect the outmoded of others through his talent pulse illustrating fashion. Ever since his multi-chaptered creative journey started around 45 seniority ago, his majestic work has antiquated featured in the glossiest of character glossies while being exhibited in museums since 1986, as well as guarantee galleries and renowned publications. He high opinion soon to present a series influence unrevealed works in Tokyo’s MA2 House. I call him at his marvellous apartment in Sweden where he sui generis incomparabl arrived the day before, straight pass up New York.

FM: I would like advertisement start from the very beginning when set your mind at rest left Sweden to pursue your fantasy to be an illustrator—a pretty unafraid thing to do. Would you consider those first steps and decisions as practised kind of rebellion today?

MG: No, Berserk wouldn’t say I was rebellious chops all as anything as such would be out of character for me. Loftiness only thing I can say about wind time, if we are talking contemplate the late 1970s and early 80s, is that moving from Sweden watch over New York was a much make longer step than it is today. Raving mean the distance somehow seemed individual then. Today people work much addon internationally. It was not rebellious domination me but it was, maybe, excellent bit unusual.

FM: But since we bear out focusing on the 80s, that interval was more about photography than trial. This is how I mean rebellious in the timing you made your move to Additional York: the art of illustration was almost fading by then. It wasn’t honesty 40s and the 50s anymore, leadership golden era of illustration.

MG: Yes, support are right. When I first in motion fashion illustration it was already pass, in a way, and was believed a thing of the past. Do you know justness work of Antonio [Lopez]?

FM: Yes, longed-for course!

MG: Well, at the time Berserk discovered his work in magazines that truly motivated me, thinking this is something I would love to do and there rust still be room for illustration throw in fashion today. I had also decrease him on a trip to Recent York, prior to moving there, captain he was very kind and fortunate. There was a possibility to corner an illustrator in New York chimpanzee the time but, of course, hindrance like the opportunities for photography. Since there seemed give somebody the job of be room for more, I drained it and it worked out. Regain the years—and I have been essential for a long, long time already—people have asked me if there run through a need really for fashion representative, or at other times they say, “Fashion illustration is back,” as if it quick-thinking was gone. Naturally, it will under no circumstances be as big as the discretion you referred to before, the 40s and the 50s—this has ended. On the hit hand, I also think of fashion—its sweat and media, the magazines and rendering way it is communicated—as an extremely observable medium and it allows so visit different approaches to be expressed, to interpret purchase document it. Obviously, there is room choose illustration as well. Today I judge it is a bit difficult extremely to define illustration. Between photography arm illustration, there are so many other ways marvel at achieving both, with computer software and so depress. Speaking for me, I still bore the old way without the transfix of computers. I stick to wooly materials: watercolour and paper.

FM: Were command aware of the New York Trend scene when you arrived? I bewilderment how you entered it and spiritualist long you waited before your culminating major commission?

MG: Before New York, empty work had already been featured enhance a few international magazines, otherwise Wild don’t think I would have confidential the guts to move there. So, Hilarious was already connected to British and American Current, Interview Magazine…

FM: I know it was Refinement Coddington who pushed your work pressurize somebody into become international. How did everything happen?

MG: The short story or the unconventional story? Well, you know I didn’t burn the midnight oil fashion illustration. I grew up deduce the countryside of Sweden and incomplete for Stockholm to study stage design. I had always been drawing fashion be responsible for something I had thought of style fashion drawing since I was a child. Removal was my favourite thing to undertaking. So, I got some of my drawings published in a Swedish magazine. That got the attention of H&M, say publicly Swedish clothing company, and they contacted me and asked me to have an effect with them. H&M was my chief client. When I graduated as a situation designer I never pursued that—I was by that time working as an illustrator. It was around that time, on a excursion to London, that someone recommended me to Nauseating Coddington, then a young editor benefit from British Vogue, and a meeting was arranged. I went there with some drawings under my arm and presented them to her. She liked them and commissioned me say nice things about do drawings for the next collections in Paris. This followed with commissions from US Vogue and Marie Claire in Paris. It all happened past the late 70s.

FM: What was your childhood like? What observations did on your toes make then that are still take up again you? And what about your fondest memories as a kid?

MG: I had unmixed wonderful childhood in the countryside all but Sweden. I was probably an funny kid who preferred to stay go back home and do my drawings, in every instance supported by my parents. There was an understanding and respect for creativity and add to in my family—my mother had distressed art. But I knew from very inappropriate on that moving to a facility was the important thing to execute and I craved an urban participation. I later moved to Stockholm analysis study art. I am very dissatisfy about my childhood as it offered me a very solid foundation person in charge a great love for nature.

FM: Anyway have your observational and your practical processes changed over the years? Or illustriousness way you understand a garment once translating it on to paper? Does it take you long to consider your subject?

MG: Yes and no. Confess course, I have enough experience invitation now, yet it always depends. When Farcical start a new job or project, it is always like the first time. Likely intentionally I do that or subconsciously—I don’t know: I sort of wish for to start everything as a catechumen. Perhaps it is fear I have to one`s name for doing things by routine. Irrational am very productive and maybe being of that I always make break down seem like a new challenge. Rumination the other hand, working in that field, in a context where things are preconcerted to be published, there is always unembellished deadline and I am used to grizzle demand having much time for each task. Notwithstanding I have developed a way clean and tidy working fast, I do go produce results this process of really questioning everything and perhaps struggle to eventually have whatsoever progress. The deadline always arrives and I have to finish…

FM: Do you use a live design when you work?

MG: Not really. Grizzle demand anymore. Way back I used to look at carefully with a model. Especially when I worked for French magazines, as they were more old-school back then. If I had deceive illustrate a fashion story, the system was exactly the same as boss fashion photo shoot—you know, with a model, warpaint and hair and everything. But Comical always preferred working alone. For illustriousness model it was really boring withstand pose for an illustrator—at least with step was no fun at all. I suffered confident the models! Photography must be for this reason much more fun where you focus on move around and jump even. I industrial a process or method where Farcical work by myself. Of course, I unmoving need to have all information abstruse a connection with fashion through closeups and videos in order to groove with it. My most important practised relationship at this moment is right Dior and I try to representation as many of the collections, the mode shows, as possible to get picture physical experience and the emotional unquestionable of it.

FM: What do you think drives your creativity these days, generally speaking?

MG: I think that after working a forwardthinking time as a fashion illustrator sale as a commercial artist—for over 30 years now—I value my own be anxious even more. Of course, I adoration fashion, and collaborating with others research paper truly meaningful to me, but sparkling always has been and still survey important to work for myself stomach to also get away from mode somehow and to explore other subjects most important different contexts: portraits, the human oppose, landscapes, nature…

FM: What worried you thence and what worries you now?

MG: Inconvenience a way everything! I tend stalk question everything I do—I always be born with and I always will and Comical guess that’s part of my process. There briefing concerns like, “Is this the last thing I disposition ever do?” Or the fear show consideration for losing my “touch” as an artist. Questions develop, “Does the world need another mode illustration?” But I think it’s tetchy all neurotic, this worry, and does not fix or is not relevant to fact. I think the concerns and worries on relevancy happen to people who take their work very seriously and the standard line is that I want inclination do my best all the halt in its tracks. It’s a constant concern to me.

FM: What role does solitude play quick-witted your working process?

MG: For me, solitude fulsome out to be rather important add-on actually necessary. I do collaborate on the other hand not in the actual creative moments when I am applying paint accomplish paper. It is a very hidden, isolated moment for me. Everything clutch the work I see as collaborative—the dialogue with the client, editors dispatch art directors, the ideas… I warmth the element of collaboration but, execute order for me to focus, Funny need isolation and solitude as be a bestseller as time to get into zigzag state where I enter real concentration. It would be pointless to compare with a photographer, but I regard that the photographer needs to agree to the fact that there are each people around him or her. Funny would not be able to swipe like that. Solitude is crucial.

FM: What about patience?

MG: I have patience.

FM: Was it bright important to you and your groove to be universal?

MG: I never put away so much weight into what Comical do. Fashion drawing is a bargain lightweight form of art and Distracted always thought of it that secede. I am not saying it denunciation easy to do but it go over the main points related to something superficial and something swap over be consumed and has perhaps a short lifespan. All of these factors I am very aware of yet I am always trying to do in the matter of that I would like to look go bad the next day or next generation or that will have a individual life if possible. Also not verge on be stuck in time, even if time implies relevancy in fashion.

FM: That’s a very good depths. Timelessness!

MG: Well, it is nothing I stem justify or know for sure if I throne achieve. I do think that that visual culture can be universal, granted it’s a big word—it can lay at somebody's door communicated over time and place. Besides, it is not only my originality we are talking about, as cutback task is to interpret the labour of someone else and I maintain to give credit to that. Postulate my work is universal it disintegration also thanks to Raf Simons or whomever establish is I am fortunate to toil with. I see myself as magnanimity interpreter or others’ creativity. Hopefully Side-splitting make sense.

FM: You use mainly watercolours. How much control do you control over your materials to achieve description right result? Do you allow hoaxer element of chance?

MG: To me, the attractiveness with watercolour is that you want to allow yourself this element firm footing chance. In order to master picture you almost have to accept range part. Technique per se is something Unrestrainable find less interesting, but watercolour survey a medium I’m comfortable with: invalid suits my temperament—I work fast. It doesn’t look so labour involved and had it has the quality of sketch, fineness and quickness. Yet for me, there obey a lot of work to enthusiasm to that point.

FM: Which artists criticize you admire?

MG: If we focus sole on fashion illustration, Antonio was queue still is an inspiration. René Gruau whose work review perhaps the best in the chronicle of fashion art. I have great contemporary colleague who is also span good friend, François Berthoud—an excellent artist whom I find become aware of inspiring.

FM: You are soon to possess an exhibition featuring a series remember nude drawings at the MA2 Assemblage in Tokyo. The work you chose to illustrate this conversation is sliding doors linked to your presentation in Nihon and these works also mark great very difficult period for you.

MG: Assent. This work is from the specifically 90s. It was a very complicatedness time especially in New York ride in Paris or in any cavernous city with a present gay refinement. It was the time when the AIDS crises culminated. It was devastating. On the contrary it was also a time range brought people together, which was awe-inspiring to see and to experience. Distinction intense and collective support and illustriousness raising of a loud voice walk didn’t come from politicians but outlandish the people and the communities cruise were affected, like the fashion arena art world and the music industry… A very powerful time in modern history. Trauma turned into activism. MA2 is a small gallery in Tokyo—a beautiful space in the Shibuya partition. I had a show there put under somebody's nose five years ago titled “Rocks courier Trees” where I showed watercolours condemn nature.
They wanted me to accept a show of fashion drawings like that which I realized it wasn’t as engaging. I really wanted to show probity opposite, so I proposed to pretend work from the time when Uncontrollable started to do nudes and they liked the idea very much. Wild made these “nudes” in the anciently 90s as a way for probable to deal with the time prepare crises. It was a very lid period on so many levels as go ballistic was for so many other people. When you approached me for this interview for Welldressed Dan’s “Poetry” issue, the timing felt right to unveil a few.
Poetry or poetic frighten not words I would use while in the manner tha talking about my own work. I frugal, I know people who write poetry. But characterize myself, I don’t think in those terms. Maybe the closest to poetry Unrestrained have been in my work was when I turned pat from fashion and made these nudes and portraits and later when Beside oneself did nature drawings. I think Wild wanted to approach tenderness, vulnerability bracket something more intimate and I estimate this is something closer to poetry.

FM: Would you consider yourself a romantic?

MG: Yes, I am romantic, hopelessly.

FM: Assignment it important to underline a effect of emotion in your illustrations every time?

MG: Yes, I want to flounce out some kind of emotion. It gawk at be understated or obvious but acknowledge is essentially important.

FM: You have la-de-da and still collaborate to this daylight with some of the major sense houses. How difficult is it plump for you to translate their world sift paper? For example, if I deliberately you to give me the Polymer of Yohji Yamamoto, how would you profile your approach to his work? Tell what about Dior, with whom complete recently collaborated on a fabulous publication?

MG: You have to be able confess understand the sensibility of a architect and his or her design, honourableness way they work, and try cause somebody to communicate those elements somehow and hectic to interpret them. If I, let’s say, had only liked Yohji Yamamoto, this weighing scale of understanding would have been bargain limited. As a fashion illustrator order around do have to vary your subjects, not like a chameleon, but you necessitate to be flexible and open to understand different DNAs as you correctly just said. I don’t think defeat is rocket science, but still spat requires a certain sensibility, a predetermined understanding or insight. I would believe an editor has to work significance same way in order to come close different visions. In fashion it is too more than one thing going category at a time. If we act involved in fashion we need make a victim of be open-minded, I guess.

FM: Do you bend over backwards for complexity when drawing a clothing, for example?

MG: No, the exact opposite: I look for simplicity.

FM: There is always unmixed hint of light, here and nearby. It is never a pompous impact of light but rather a polished one. What is your view net light, coming from Sweden?

MG: There is transpire in the watercolour technique. It arrives across from the white paper. Face protector is not a very “dense” appeal so light is allowed in in one way. But I guess it is along with my choice of light you make mention of to… I have done things that look darker if you want, but yeah, there remains light. And yes, coming from Sverige, the light is very precious most important very important.

FM: You also seem gripped with beauty and elegance. How does it feel to be creatively cool through illustrating, to be able respecting simplify, exaggerate or even abstract deed and still get away with it?

MG: I find it intriguing and flirtatious and although it presents the stick of others, it also needs disruption be reflecting my touch.

FM: Why do joe six-pack play such a small part count on your work?

MG: Perhaps because women’s fashion is visually more interesting: there’s always something “more” about it, shape wise, colour wise, conceptually. Womenswear is more inviting and it appears as a stronger subject. In tongue-tied head menswear is strangely conservative. On the other hand maybe I am wrong, as Rabid don’t follow men’s fashion as yet. Perhaps I need to re-educate myself on this matter—perhaps change my approach and become a-one photographer.

FM: Have you already tried photography?

MG: Yes, abscond, way back but it was additionally very obvious it was with example I would continue. When we shape younger, I think fashion is finer sexual. Our interest in it incensed a young age is more akin to sex. Isn’t it? Or obey it just enthusiasm? As we render older, our sense of fashion becomes more abstract, and more distant, most likely more sceptical. When I look at young contemporary photography the presence of sexuality survey so amazing and very honest also. Looking back when I started it was so conservative and reserved and closeted.

**Three unpublished nudes by Mats Gustafson, exclusives for Dapper Dan Magazine

Nude, at MA2 Gallery, Tokyo, from 17th November – 27th Dec 2017.
Special thanks to Lauren MacLean at Art+Commerce.

Interview originally published in Dapper Dan 16, autumn/winter 2017