Quotes by Raf Simons - Page 2

You do what you do. Or you do what you have to do. I don't know how to explain it better. I think that in the moment, you can't see connections, but sometimes afterwards you do.
Raf Simons / Fashion Designer
Connections
Sometimes
Thinking
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I was growing up in the New Wave period, but that wasn't allowed in school. I remember moments when they wouldn't let four people dressed in black stand together on the playground.
Raf Simons / Fashion Designer
Moments
Wave
Allowed
Period
Dressed
Playground
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Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.
Raf Simons / Fashion Designer
Example
Gallery
Shows
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When it's only clothes, that is not satisfying enough for me. I don't think I could do this for 10, 20 years if that was all. It also has to be about a psychology or a mentality or a concept.
Raf Simons / Fashion Designer
Clothes
Thinking
Years
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In the nineties, it was common to see people who expressed themselves through one designer - the Jil Sander woman, the Martin Margiela woman. You saw her on the street, and you knew who she was.
Raf Simons / Fashion Designer
Designer
Expressed
Martin
Nineties
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It was a challenge for me to see how I could deal with that at Jil, and I had a lot of doubt about it. I wondered if maybe it was just better to do your own thing in the long run, like an artist.
Raf Simons / Fashion Designer
Running
Artist
Long
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Antwerp literally was a trash hole, but fashion changed that. The designers there were extreme, and their work was hard to understand. But now, people from all over the world come to Antwerp to shop.
Raf Simons / Fashion Designer
Changed
Fashion
Trash
Work World People
Extreme
Designers
Hole
Literally
Shop
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My own brand will stand or fall because of me. Dior won't fall if I fall. It will also still stand if I'm not there. I'm coming in there, and it's like a - I don't know the English word - like a passage.
Raf Simons / Fashion Designer
Dior
Me Will Know
Me Stand Will
Passage
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It felt wrong for me to stay totally connected to that very strict way of approaching the heritage - what it can be, what it cannot be. That was also the period where I really thought, "No, let's open it up."
Raf Simons / Fashion Designer
Heritage
Periods
Way
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The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.
Raf Simons / Fashion Designer
Luxury
People
Strong
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I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.
Raf Simons / Fashion Designer
Sensibility
Always I Am Person
Absorb
Associated
Attracted
Audiences
Respond
I Am Always Person
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I've always seen myself as a small entity, and it will always stay like that. I'm not changing. But I think the big challenge for me taking on the Dior thing is to see how I can connect that to such a huge institution.
Raf Simons / Fashion Designer
Challenges
Dior
Thinking
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I have so much respect for John [Galliano]s technical skill and the fantasy, its just something that I dont find relevant now, especially when it restricts a woman, because in every other area they have so much freedom.
Raf Simons / Fashion Designer
Fantasy
Relevant
Skills
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There's a very different kind of psychology going on in the fashion scene than in art. When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice.
Raf Simons / Fashion Designer
Psychology
Connect
Designers
Different Kind
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As an industrial designer, you design the thing by yourself, and then it goes away from you, whereas fashion is in constant relation to the body and to psychology. It makes it more complicated, and it makes it more challenging.
Raf Simons / Fashion Designer
Constant
Designer
Psychology
Relation
Industrial
Whereas
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I see there is a lot of behaviour in men's fashion, which is systematic. It's a lot about all these kind of clothes that can be easily combined with each other, and it's less and less, I think, about making a fashion statement.
Raf Simons / Fashion Designer
Behaviour
Fashion Statement
Systematic
Combined
Statement
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The future, for me, is romantic, I don’t understand people who say the past is romantic. Romantic, for me, is something you don’t know yet, something you can dream about, something unknown and mystical. That I find fascinating.
Raf Simons / Fashion Designer
Dream
Past
People
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My inspiration is endless; I can't define it. It is a constant flow and evolution. In general, I'm taking it from everywhere. People get nervous when they walk with me, as I'll see something and suddenly have to text it to myself.
Raf Simons / Fashion Designer
Constant
Endless
Evolution
Flow
Inspiration
Nervous
Everywhere
Myself Me People
Myself Walk Me
General
Constant Flow
Define
Walk
Suddenly
Taking
Text
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I fantasise about what the future could be in terms of aesthetic and psychology. It's the most difficult thing to do because you have to start from the past - your favourite architect, your favourite song - you take it all with you.
Raf Simons / Fashion Designer
Aesthetic
Architect
Favourite
Psychology
Future Past Your
Difficult Thing
Most Difficult Thing
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Berlin is in a state of transition. There are lots of people who don't stay here. They pass through. They might not 'clean up,' but they mature. It is a city where people spend a significant time in their lives, and then they move on.
Raf Simons / Fashion Designer
Berlin
Clean
Mature
Significant
Time City People
Clean Up
Move On
Pass
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Well, my own men's collection always felt very free back in the days before Jil. Once you make it this kind of dialogue with other people, with a fashion show and clients and whatever, it becomes something else. Free meets not so free.
Raf Simons / Fashion Designer
Men
Fashion
People
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Contemporary art for me is a real driver; it propels us into the future. And at the same time, it's what connects us to the past, from a perspective of artistic evolution in which the succession of eras and styles gives meaning to creation.
Raf Simons / Fashion Designer
Art
Past
Real
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Collage – SS13 offers a very controlled and pure do-it-yourself attitude. The collection shows a juxtaposition of very different materials, prints and colours, therefore giving the wearer a possibility to combine the garments in different ways.
Raf Simons / Fashion Designer
Attitude
Different
Giving
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I always try to connect with what's happening in the world-reality, modernity, the 21st century, all that - and with Jil it started to feel very disconnected from the outside and how women were looking at fashion, experiencing fashion, interpreting fashion.
Raf Simons / Fashion Designer
Fashion
Reality
Trying
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Dress codes and gestures and attitudes have always inspired me, as has youth culture in general, although now I question it more. If you analyze youth cultures over history, there has always been something strict about them - you have to be like this or like that.
Raf Simons / Fashion Designer
Gestures
Strict
Youth
Youth Culture
Analyze
Attitudes
Codes
Cultures
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I want to get away from couture just being done for a picture or for a single moment on the red carpet. I want to try and convince women that couture can be worn in the day and that there's a reality and relevance there, because that's what Mr. Christian Dior wanted.
Raf Simons / Fashion Designer
Being Done
Carpet
Convince
Couture
Dior
Red Carpet
Relevance
Worn
Mr
Single Moment
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I am somebody who focuses on a dialogue between generations - that's the drive of my work. I believe the young generation take the power; they'll take over at one point, but the older generation, they'll push it away only because of the fear. I'm the opposite; I'm curious.
Raf Simons / Fashion Designer
Curious
Dialogue
Older Generation
Opposite
Generation
Push
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I don't have so many things in the fashion world that interest me. It's probably because I am so deeply into it. Often when you go very deep into something, you also discover what it's about, and you understand it better. With the art world, I still have a lot of curiosity.
Raf Simons / Fashion Designer
Art World
Curiosity
Fashion World
Deeply
Discover
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Until I was eighteen, I did not know that you could study fashion design or art. I really didn't know. I already had my nose in the art world; I was already looking at things, but I didn't really get it that you could study that because my school was a very different environment.
Raf Simons / Fashion Designer
Art World
Eighteen
Nose
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I never really have to sit at a desk thinking, "What should I do now?" It doesn't work like that for me, and it never has. My thinking process is constant. The difference is that once I was in Antwerp only doing two men's shows a year. And the weird thing is I thought I was busy then.
Raf Simons / Fashion Designer
Men
Thinking
Years
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I see my position in that whole Dior construction very differently from my own brand. My own brand will stand or fall because of me. Dior won't fall if I fall. It will also still stand if I'm not there. I'm coming in there and it's like a - I don't know the English word - like a passage.
Raf Simons / Fashion Designer
Dior
English Words
Fall
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Becoming a fashion designer is agreeing with the fact that what you experience or what you see as free is also connected to a system. Does that mean giving up your freedom? I still don't know the answer. There's a very different kind of psychology going on in the fashion scene than in art.
Raf Simons / Fashion Designer
Art
Fashion
Giving Up
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We are very excited to re-launch the collaboration with Fred Perry. We have great appreciation for the heritage of the brand as well as their dynamism in guiding the brand towards the future. Their openness to create synergies between both our brands will bring interesting, creative results.
Raf Simons / Fashion Designer
Appreciation
Creative
Interesting
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In fashion design, you can divide people into two groups. You have people who come with an aesthetic that is there forever, even if it evolves. Then you have people I call 'jumpers.' One season it can be this; the next season it's completely something else. I always knew I am more of a jumper.
Raf Simons / Fashion Designer
Design
Aesthetic
Fashion
Forever
Groups
Always I Am People
Divide
Something Else
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I'd like to see fashion slow down a bit. What freaks me out about fashion today is the speed - the speed of consuming, the speed of ideas. When fashion moves so fast, it takes away something I always loved, which is the idea that fashion should be slightly elusive. Hard to grasp, hard to find.
Raf Simons / Fashion Designer
Consuming
Elusive
Speed
Today Always Me
Freaks
Grasp
Slow
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Every weekend, I'm on the highway to Antwerp. I need to be there, to have the calm. It's a whole different life: I jump on my bike, and it's so small, I can be anywhere in a minute. I like to be at home when there's free time because when you're at a big company, you're constantly surrounded by 30 people.
Raf Simons / Fashion Designer
Bike
Calm
Different Life
Free Time
Life Time Home
Big Company
Highway
Jump
Minute
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I think it's different in fashion, because even if I would be an outsider, I would still be in the middle of the whole world of contemporary fashion. But it's interesting to think what outsider fashion could be. Does it mean to be completely disconnected from the regular system or just disconnected style-wise?
Raf Simons / Fashion Designer
Wise
Fashion
Mean
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My own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.
Raf Simons / Fashion Designer
Hands
Strong
Thinking
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And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.
Raf Simons / Fashion Designer
Groups
People
Photography
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I don't find it difficult anymore, because these days, Raf is only men and Dior is only women. I found it much more complicated when I was doing Jil Sander for men and women. It wasn't that it was the same, but I'm specific about where I want to go, and when you suddenly have to do two men's collections in the same moment, that was more difficult.
Raf Simons / Fashion Designer
Men
Raf
Two
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In fashion, general people will look to the piece itself. [Some designers] concentrate on, 'How can I make this seam look special?' or 'What am I going to do with that button so it looks interesting?' I am not interested in that. At the moment, I am more interested in the shape and the form. I have a big desire to make clothes without defining them.
Raf Simons / Fashion Designer
Clothes
Fashion
People
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The psychology for the person who's actually doing it is completely different. I think I probably needed to put that [hired-hand] psychology in my own head to be able to do the job. Otherwise it would just be too scary. People outside make it much bigger than me. I'm not saying in my head, "Oh, my god, what an amazing idea!" It scares me if I would do that.
Raf Simons / Fashion Designer
Jobs
Hands
Thinking
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When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice. I know everybody mentions Azzedine Alaïa, but he's been going for a long time in the system - showing to people, selling to clients - and I think it's admirable how he's transformed it into his own system in a way, but it's still a system.
Raf Simons / Fashion Designer
Artist
Fashion
Thinking
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Raf Simons Quotes - Page 2

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