In an industry where trends come and go, New Yorker Matthew Mazur, also known as “DJ Mazurbate,” has always stayed true to his vision, resisting the pressures of conformity. Growing up in New York’s downtown club scene and attending Parsons School of Design, he naturally worked his way into the music and fashion world. Through a friend, he began working as an intern, DJing events for collaborations with Adidas and Jeremy Scott, and eventually stumbled into styling. At a young age, he became a stylist for CL from the K-pop group 2NE1 and later for Kim Petras, all while continuing to DJ on the side. Mazur, sober since 2016, describes a journey that was initially challenging but ultimately rewarding. He notes, “You become so used to it that you gain clarity and confidence no one can take away. When you’re relying on something like a substance or alcohol, you start to feel a lot more insecure in these spaces.” Today, Mazur styles major Gen-Z artists like Lil Nas X, Coi Leray, and Camila Cabello while DJing for high-profile fashion shows and events with his partner Tama Gucci, including Bella Hadid’s Orebella fragrance launch, Laquan Smith, Prabal Gurung, and Mirror Palais. Models.com caught up with Mazur to discuss the importance of amplifying brands and artists from marginalized communities, his song of the summer, and the powerful impact that music can have on a fashion show.
I read that you went to Parsons and, after, started working in-house for Jeremy Scott. Were you always interested in fashion?
For high school, I went to Fiorello LaGuardia, the performing arts school, where I started being super creative. Then I interned for this denim hipster brand because that was the rise of the hipster, and it was called the Good, the Bad, and the Ugly. I remember I lied and said I was 18, but I was actually 16. I remember, I always put myself together in terms of clothing and fashion, but I never really sought it out; after a week of interning there, I told myself, “Okay, clothing may be something for me.” So I went to Parsons, and while I was there, I majored in Integrated Design with two degrees in fashion and fine art. I met Jeremy through a friend because a friend of mine was a stylist, and I was obsessed with Jeremy Scott. I asked “Can I act like your assistant or intern?” Because I just want to see the clothes. That’s how I met Pablo Olea, Jeremy’s right hand, and it all started. We just had an organic relationship from there, and then they hired me right when I got out of school.
How long did you work with Jeremy Scott?
I worked there for four or five years. I started as an intern and was also DJing their parties, which is how I got introduced to them. I eventually asked to DJ a party for them, and then they just had me as an in-house mascot kind of person. I then eventually started doing PR. I didn’t really know what PR was, but I was there through the initial Moschino announcement, too, when Jeremy was selected as creative director.
You mentioned that you started DJing in-house for them while you were working there, but I know you also started styling for Kim Petras while you were there. How do music and fashion intertwine for you, and how did you start DJing?
I started DJing when I was in college because I was broke. I went to Parsons on a full scholarship, and I wasn’t one of the rich kids who could afford it. Many people drop out in the first year because they can’t keep up, whether it’s the tuition or the pressure to maintain appearances. Eventually, I met a friend who introduced me to the club scene. One night, someone I met asked, “Do you want to DJ?” I had never DJ’ed before, but I said, “Sure.” I asked how much it paid, and they offered $150 for six hours of DJing, plus free drinks. At 18 that was major, and I saw it as a hobby that could help me make ends meet so I wouldn’t have to ask my mom for $20 each week. The first major opportunity came from the Jeremy Scott team when I started DJing for fashion events. They had a lot of events with Adidas, and I got to DJ alongside Skrillex and other big names. I was very young and new to the scene. While working for Jeremy Scott, I began dabbling in styling. Kim wasn’t my first client; she was my second. My first client was CL, a Korean pop star from the group 2NE1, who was very close to Jeremy. I remember dressing her in Jeremy’s clothes because he and Pablo would tell me, “You’re really good with celebs, so just go pick something out for them.” I didn’t know much about styling at the time or that it was a real profession. That’s how I got started, and CL eventually asked me to be her stylist. It was a huge deal for me because she was like the Beyoncé of Asia then. I learned a lot from my then-boyfriend, who was also a stylist. He taught me how to write a request and what goes into styling. I was always around fashion and music.
Growing up part of the LGBTQIA+ community, how did your personal exploration of gender and identity contribute to your exploration of fashion?
I’m from Brooklyn, I’m queer, I’m Latin, I’m mixed race, I’m a New Yorker, and I’m in so many different spaces. I’ve been fortunate enough to have different experiences, for example, if I want to go to a rave with my friends who are still deep Bushwick vibes, I can, and they’re some of the most inspiring people that I know, and their taste is so beyond the future. I can also navigate fashion spaces and high-end settings, seamlessly shape-shifting between both. Being queer and part of that community, I naturally gravitate toward music and fashion that reflect queer or marginalized voices. I subconsciously incorporate this into all my work. If I think something is fab, I need the world to know how fab it is, and it just so happens that a lot of things that are fab come from people of color or queer people. That’s where my ideas come from, not the generic top editors. It’s also a very New York mindset, so I’m very fortunate to have that kind of upbringing where I just gravitate towards inclusion naturally. I’m so happy to see certain people get their flowers when they should. I’m always gunning for the people I love and the communities I love.
You’ve created soundtracks for Laquan Smith, Prabal Gurung, and Mirror Palais. How do you collaborate with designers to set the show’s tone and ambiance?
I used to work alone, but now I collaborate with my boyfriend, Tama Gucci, a performer and musician. He’s taught me so much about music, and we dive into our projects together. When we’re with a client, we ask, “What are you feeling this season? What’s the vibe? Show me the clothes.” I never try to impose ideas on people that they might not feel comfortable with, whether it’s in fashion or music. We look through the collection board to get a feel of the collection. One aspect I love about creating soundtracks is the ability to include little Easter eggs that exist only in that specific moment. I remember attending certain shows or watching them on YouTube, where the original soundtrack perfectly matched a particular look. When you hear a specific song or sound that coordinates with a certain outfit, it leaves a lasting impression. It’s actually genius marketing. Music and fashion have a similar impact; for example, when a look comes down the runway paired with the perfect song or something unexpected, it stays with you. Music is forgotten about a lot of the time during collections, but it really can make or break a show.
How do you prepare for a DJ set? Do you have morning routines that you need to do to get you in the mood?
When I go to a set, I don’t really prepare myself mentally anymore; I approach it like a blind date. I used to know what to expect, but recently, the gigs have been much more surprising. Sometimes I show up to find a huge audience, or it might be a corporate event, like the last one I did for a fragrance brand, Orebella by Bella Hadid. I didn’t really know what to expect. There are so many expectations and people to please, whether it’s the managers, agents, PR team, clients, or others involved. The same applies to actual parties as well. Beforehand, I don’t listen to music at all. Even in my studio and in work mode, I prefer to have piano music or vibrational frequencies playing. I need something to differentiate everything that I’m doing. As for my routine, I don’t like to eat before a set; I like to feel clean, sexy, and fun. Sometimes, I’ll have a yerba mate if I’m feeling low on energy, but I don’t drink alcohol. I’ve been sober since 2016. Many people ask, “How do you still do this?”
How do you navigate that?
I remember the first time I did something sober was at a Jeremy Scott party during Fashion Week. I was so young, around 25 or 26, and there were so many people in the booth with me. I told myself, “I’m never DJing again.” It was the worst night I ever had because, while I was fine, dealing with inebriated people was not, which we can all agree on. After getting through that hump/difficult phase, I finally felt confident enough to be in these spaces without relying on a crutch. I’m now so comfortable in my own skin that I really don’t need anything to feel at ease. It’s actually quite nice; I don’t wake up with a hangover, and I’m a cheap date—my boyfriend doesn’t have to buy me drinks. It was challenging to navigate at first, but now it’s second nature to me. People often come to me for advice, asking, “I know you don’t drink. How have you done it?” I always tell them the same thing: “You have to get through the hump.” I compare it to a master cleanse; your body is completely restructured. You get cleaned out from the inside out, and you become so used to it that you gain clarity and confidence no one can take away. Whereas when you’re relying on something, like a substance or alcohol, you kind of start to feel a lot more insecure in these spaces.
As far as collaboration, are there any creatives that you like to work with consistently?
The artists I work with, like Coi Leray and Lil Nas X, are really inspiring in their artistry. Kim Petras is also inspiring, and my boyfriend, Tama Gucci, is also an artist, albeit on a smaller scale. Being so close to him has given me a deeper understanding of artistry and what clients and celebrities go through. Seeing how they handle management, PR, their vision, interactions with other artists, competition, and camaraderie is inspiring. So much goes into it, especially when you’re under a magnifying glass and so young. “How do you become this famous at 20 years old and have to figure it all out?” They’re very inspiring to me in how they work and carry themselves. In terms of fashion, I take a little bit of inspiration from everyone I collaborate with. If I’m not passionate about a project or don’t see some sort of connection, I tend to avoid it. While money is nice, there has to be some benefit for both me and the people I work with. A benefit can be monetary, but it can also be about inspiration, learning something new, or being exposed to a different type of person, crowd, or brand. So, even though it might sound like a generic answer, I find inspiration everywhere.
You touched on working with Lil Nas X, Coi Leray, and Kim Petras. Could you describe how you got connected with both of them and how that whole process has been for you?
CL and I kind of took a break because she was not working as much at one point. Then, Kim came into my life pre-pandemic. I heard one of her songs at a club in Brooklyn and asked, “Who is this?” It had a refreshing, nostalgic pop vibe. Someone told me it was Kim Petras, and I found her on Instagram. We connected through a mutual friend, which started our working relationship and friendship; she’s like my little sister. I got connected with Coi because I saw her on Instagram years ago and didn’t know who she was. I remember seeing photos of her, and I felt weirdly turned on and inspired. I reached out to her manager, and we’ve been working together ever since. With Lil Nas X, his management contacted me a few years ago. The first project we did together was a was a huge League of Legends video game event where we had to create custom outfits from scratch. It was a massive production, and we’ve continued to collaborate since then. Menswear is challenging, and I really commend those who do it with ease. Some men look great in a suit, but Lil Nas X, like Coi, uses fashion to express his persona. Their images blend fashion and music, becoming one cohesive statement. When you have a unique point of view like that, it’s so important to express it. There are so many people watching—whether they are others who aspire to do the same or kids in remote areas seeing this and thinking, “Wow, I never thought I could do that.”
Who is your ultimate style inspiration, and where do you see creative inspiration?
There’s a stylist who is kind of a mentor to me, Carlyne Cerf De Dudzeele. She’s an icon, and her Instagram bio even is “The Legend,” which she truly is. I was fortunate enough to meet her through my work with Jeremy Scott. She’s responsible for all the iconic old Chanel ads that everyone references, including the famous Linda Evangelista images adorned with gold. She showed me a different side of the bourgeoisie, showcasing how you can be high-end and luxurious while also embracing streetwear culture—like pairing flip-flops or cargo pants with a diamond Rolex. Being around her, I absorbed so much knowledge; I was like a sponge. She’s incredible. Another iconic figure I look up to is Patricia Field. Without Patricia Field, where would we be? Certain people just leave me in awe, and fashion icon legends like her will always hold that place for me. I also love The Olsen twins. Through therapy, I’ve learned that I have very polar opposite tastes—I can go over the top or super minimal. Luxury has always attracted me, and it comes in many forms. It could be a great fragrance or a $30,000 bag; there are just so many ways to interpret it. The Olsens are masters at this, like wearing $1,000 flip-flops paired with a thrifted alligator bag. I also adore Marc Jacobs, who is another blueprint for me. Everything he did at Louis Vuitton and everything he does now leaves me in awe. Lastly, I’m a huge fan of Tom Ford, who has such a distinctive point of view. I live by the idea that if it’s not sexy, then don’t do it. Sexiness and sex appeal are so subjective; you could be wearing a sweatsuit and still be the sexiest person on earth. Tom Ford is someone I really look up to, and he’s a Virgo, too.
Where do you find your creative inspiration?
I like to walk around a lot. Living in New York, I often think, how can anyone complain about this city? Of course, I do complain sometimes—about the rats on the streets or the loud performances on the train at 9:00 AM. We all have similar complaints, but there’s so much inspiration everywhere you look. Whether it’s in a club in Bushwick or on the Upper East Side, where I live now and absolutely love, inspiration is all around me. I often tell my boyfriend, “Let’s go for a walk,” and I’ll take my phone out and take photos of people. It might sound cliché, but I don’t like getting into doom scrolling; even though I do, the inspiration I get from Instagram is so instant and fleeting. You save images, but when do you really look at them? Seeing something in real-time, however, leaves a lasting impression. I try to walk outside as much as I can and absorb everything around me. Recently, I was at a friend’s fundraiser in Bushwick, and someone walked in dressed in full club kid attire on a casual Thursday, complete with a huge top hat. My friend Polly, who was hosting the fundraiser, pointed it out and said, “Matthew, you have to look at this hat.” I agreed and said, “This hat is so fab.” I try to stay engaged with what’s happening on the sidewalks because that’s where the inspiration truly comes from.
Do you have a go-to song of the moment that represents summer for you?
The song I have on repeat right now is 360 by Charli xcx. I love a bitchy song. That’s why I work with female rappers so much because I like bitchy, and I like empowering. On the other hand, I love a ballad and all that; it’s got to be dramatic.
Are there any emerging brands or artists that are on your radar now and why?
There’s a brand called Women’s History Vintage Museum that recently had a show. The designers behind the brand are influenced by Vivienne Westwood, with a style that blends cottagecore, Westwood-esque elements, and coquette aesthetics with a dark rave-girl vibe. It reflects what actual rave girls are wearing, not just fishnets, stripes, and platforms. I pulled some pieces for Camila Cabello’s Nylon Magazine cover. In terms of artists, I’ve been really bad recently at discovering new ones because I get so preoccupied with my work. I find Chappell Roan quite exciting because she brings a spectacle and a full fantasy to her work. I think she’s exciting. Many artists are being reprocessed too quickly. I think we’re approaching a collapse in music, where the industry will need to start fresh due to the overproduction of artist replicas.
Could you describe your music taste in three words?
Sexy, prissy, and fun. If I DJ an open-format party, you’ll always feel sexy. There’ll also always be an element of stupidity in it.
What’s your favorite club or lounge in New York City?
It’s not necessarily about a club or lounge anymore; it feels like things are more party-based now. My favorite party to go to is Papi Juice. They’ve become like family to me, and I’m so fortunate to have met them and maintained a relationship with them over the years. There’s zero tolerance for homophobia, transphobia, or bigotry—nothing like that. You always have a great time because the music is consistently incredible. They are true artists in their ability to curate an amazing experience, and I feel lucky to call them friends.
What advice would you offer to other creatives looking to carve out a niche for themselves in this industry?
I think you need to go out as much as you can, and that’s what I did. When I started, people constantly made fun of me. I’ve somewhat gifted myself with the title of being a trend forecaster, and my close friends know this about me. People laughed at me for wearing Uggs, collecting John Galliano for Dior, using micro purses, and wearing Juicy Couture. I just stayed true to what I liked. The fashion industry can be very elitist, but despite that, I stuck with my own taste, point of view, and vision, and it worked for me. I think people can get lost when they let their insecurities take over and let other people’s paths affect their own. It’s a competitive industry, and we all observe each other’s work, but as long as you stay true to what you like and your direction—regardless of what others are doing—you’ll be fine. Don’t try to be someone you’re not. It may sound cliché, but it’s true.
