On “Clothes That Exceed My Own Average”

The wounded female body, exposed internal organs, ghosts… Her work evokes a “beauty” that seems otherworldly, a “beauty” where “pain” transforms. This is the world created by Fuyuko Matsui, a painter gaining international acclaim.

Her work is highly regarded overseas, and she is currently participating in the group exhibition “Phantoms of Asia” at the Asian Art Museum in San Francisco (※ exhibition runs until September 2, 2012).

As a painter, what kind of attire does Matsui choose when meeting important people or appearing in significant settings? And what are the essential elements for such attire?


—Today, I'd like to begin by asking about what you consider an “important scene” and your criteria for selecting clothes for it. What comes to mind when you think of an “important scene”?

Fuyuko Matsui (hereinafter, Matsui)Perhaps the opening of my own exhibitions, or dinners with important people. While such occasions occur both domestically and internationally, recently, they tend to be more frequent abroad. For these events, I often wear kimonos in Japan, but overseas, I overwhelmingly choose long dresses for occasions like galas. Since I don't often get to wear long dresses in daily life, I do enjoy it.

—It’s difficult for the general public to imagine the daily life of a painter. What do you typically wear while working on your art?

MatsuiI try to wear things that don’t generate much dust (laughs). Dust can settle on the canvas, so I can’t wear things like sweaters. Also, overly bright colors can reflect onto the artwork, so I tend to wear dark, unobtrusive clothing.





—Today, you wore pieces from the Giorgio Armani collection. How was the experience?

MatsuiWell, the most pleasing aspect was how beautifully it enhanced my figure! It made me look quite slender (laughs). The black jacket in the first shot, in particular, was striking. It had an edge, yet it highlighted only the best parts while skillfully concealing areas I’d rather not emphasize. It was comfortable to wear without compromising the beauty of its form. The line from my neck to my shoulders looked exceptionally elegant.

For the fourth look, I initially thought the colors and patterns might be challenging to wear. But, if I may say so myself, I was truly amazed when I put it on! (laughs). It was a style I’d never encountered before, yet it suited me unexpectedly, and I found myself really liking it. The combination of a tight skirt with a black leather sash belt was also excellent.

Overall, when considering the combination of color, texture, and silhouette, it felt as though it effortlessly surpassed my own perceived average.














—By the way, what do you think influenced your choice to become a painter and develop your current artistic style?

MatsuiI remain very interested in anatomy today, and the catalyst for this interest was my grandfather. When I was young, my grandfather studied aesthetics (※ art history) at university. A medical student at the same university asked him, “You’re good at drawing, could you draw anatomical illustrations for me?” Apparently, he drew quite a substantial volume. Hearing this, I thought, “How romantic,” and developed a sense of admiration for anatomy, which has lingered in my mind ever since. Although I’ve never actually seen my grandfather’s drawings, perhaps small childhood encounters significantly shape a person.

—Did your mother, who is a tea ceremony instructor, also have an influence?

MatsuiI believe various elements have merged together. Regarding the idea that one’s starting point shapes who they become, I felt the same when reading Giorgio Armani’s autobiography recently. Episodes like his mother altering parachute fabric and military uniforms into stylish clothes for her children, and his fascination with his grandfather’s wig shop, seem to foreshadow his path into the fashion industry. Furthermore, his decision to study medicine and develop a strong anatomical perspective was likely a significant factor.





—Is that reflected in the patterns of the clothing?

MatsuiYes, I believe it naturally is. It’s fascinating that the foundation of his design draws essence from something like anatomy. It offers a profound insight into the person of Giorgio Armani.

Another intriguing episode is from the mid-70s, when the wave of feminism emerged, and Armani’s sister and her friends wanted to wear their brothers’ jackets. Mademoiselle Chanel, of course, also created many clothes with a feminist perspective, but Armani, as a man, incorporated feminist ideas into his designs. It’s interesting how he integrated masculine dignity into women’s clothing.

—Do you feel any common ground with Giorgio Armani himself?

MatsuiTo claim common ground would be presumptuous (laughs)… but it’s evident that he is a perfectionist. And, though it may sound repetitive, I do have a feminist perspective, so in that sense, I feel a connection. Not the kind of “feminism” that people tend to dislike, but rather a feminism that supports women becoming independent beings. Giorgio Armani has an image as a brand that supports women’s self-reliance.

—Does the idea of “clothing that supports women’s independence” connect to your reason for choosing Giorgio Armani for important occasions?

MatsuiYes. Wearing Giorgio Armani is also a statement of embracing a feminist philosophy. When you wear his clothes, one can perceive the philosophy, and you look beautiful… I believe it’s the perfect brand for self-expression.

Fuyuko Matsui
Born in Shizuoka Prefecture in 1974. Held her first solo exhibition, “Fuyuko Matsui Exhibition,” at Naruyama Gallery in Tokyo in 2005. Completed her doctoral program in Japanese Painting at Tokyo University of the Arts in 2007, earning a Ph.D. in Fine Arts. Held solo exhibitions at Galerie DA-END in Paris in 2010 (“Fuyuko Matsui Exhibition”), at the Yokohama Museum of Art in 2011 (“Fuyuko Matsui Exhibition: I Can Make Friends with Children All Over the World”), and at Naruyama Gallery in 2012 (“Chogan”).