- Matthias van Arkel
Dagmar Dialogues with artist Matthias van Arkel
Welcome to Dagmar Dialogues, an editorial series where we explore the intersections of fashion, art, and architecture. Here, we celebrate the visionaries — our friends, collaborators, and those whose creativity continues to inspire us.
A longtime friend of the house, Matthias van Arkel's work was the inspiration for our iconic sculpted program.
Tell us about your collaboration with Dagmar
The collaboration began in 2016 with then creative director Kristina Tjäder, whom I knew through a mutual friend. She visited my studio, drew inspiration from my work, and I shared images that helped shape the collection. In the end, they created over 30 woven and knitted and printed pieces influenced by the textures and forms in my art.
When do you notice the worlds of art and fashion intersect most clearly?
I often see it at international fairs in places like Miami and New York, where people can be quite bold. But really, the intersection is everywhere. Art blends with architecture, fashion, and design. Over the past 20 years, these worlds have become increasingly intertwined. Some garments today are truly impressive in their detail, balance, and use of color.
How do you think the art world has evolved over time?
The art world has become much broader, with fewer rules and more freedom to work in different directions at once. Artists can use any material, and if the artist defines it as art, then it is. That openness is a key part of how art has evolved.
How do you see the role of craftsmanship in both fashion and art?
Craftsmanship is essential. I value a good finish and clear intention. Finding the right materials can be a very long process. For example, when I first created my silicone works, I started with plasticine and oil-based colors that became cubes with wavy patterns as I cut out the cubes manually. Then, an experienced rubber manufacturer suggested I try silicone, which offers transparency and greater durability than my earlier materials, and that’s how my silicone works came to be.
In your view, what makes a visual language timeless whether on canvas, in sculpture, or in clothing?
For me, it’s important not to be tied to any specific time. I’m trying to find my own language. For me, it’s crucial that it feels timeless.
Has fashion ever served as a starting point for one of your works whether through structure, palette, or process?
I’m not sure if I’ve directly based a work on a specific garment I’ve seen in person. However, I have drawn inspiration from art history, especially medieval paintings and how they depicted clothing.
How do your surroundings influence your artistic choices?
My work is influenced by the energy of other artists, their drive, how they build their studios, and what they focus on. I’m also affected by what I see externally, but a lot comes from within. Emotions, experiences, and even the weather influence me. That’s why I got a house by the sea, where nature is raw, with storms and big waves. I often walk along the beaches and through the forests there.
Art blends with architecture, fashion, and design. Over the past 20 years, these worlds have become increasingly intertwined. Some garments today are truly impressive in their detail, balance, and use of color.
Where do you turn for inspiration when creativity runs low?
I lie down on my 1960s daybed and take a short nap to refresh myself. Then, I take some vitamin C. Being an artist involves a lot of administrative work, which can be really boring. Like writers, I’m terrified of waking up one day and losing the ability to create. I’m very careful to create conditions that allow me to work without too many distractions. If something disturbs me, I cut it out.
Which of your artworks holds the most emotional value, and why?
It’s very personal, some works are connected to important people in my life. Besides those, the piece I created called Gobelin means a lot to me. It’s a large work and now hangs permanently in a lobby in New York.
What is your relationship with imperfection in your art?
Some imperfections are inevitable in the process, like seams or uneven shrinkage during firing, depending on the material’s thickness. I don’t mind if something ends up slightly off when I create it, it makes the process more visible and the piece more interesting.
In what aspects does your personality shine through most in your creative work?
That’s really for others to say. But a client once told me something that made me very happy, he said my work made him feel joy. In times like these, with so much uncertainty and negativity, being able to convey that feeling through art is powerful. If someone buys one of my pieces and it makes them feel good, that’s something I truly value.
Name one art exhibition that left a lasting impression on you.
The Mark Rothko exhibition at Foundation Louis Vuitton in Paris. But even more impactful was a smaller show I saw with my partner a few months ago: a Giacometti exhibition at Institut Giacometti, in an Art Nouveau house south of Montparnasse. On the walls were works by another great artist, Morandi, known for his quiet paintings of bottles and everyday objects. It was a small exhibition, but the atmosphere and emotion in Giacometti’s work left a deep impression on me. I just came back from New York this morning and my strongest impression from that trip was an exhibition at MOMA with Jack Whitten, fantastic!
If you were to invest in one artwork (not your own), which would it be?
I would invest in an oil painting by Anders Zorn or an watercolor by Egon Schiele.