Quote

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

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Dream
Past
Find
Mystical
Something
Unknown
People
Fascinating
Romantic
Future
Understand

More quotes by Raf Simons

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My aim is a very modern Dior, but at the end of the day, I also look back.
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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.
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I like very much to put on fashion shows.
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I'm not so rock and roll. I'm more techno.
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Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
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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.
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I'm usually very attracted to things that I can't define. If something's too clear, it's very often not inspiring to me anymore.
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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.
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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.
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L.A. interests me, the whole band scene and relaxed carefree feel, but it does not mean you have to dress like a hippy.
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I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.
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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.
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Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.
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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.
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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.
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I'm a designer, and for me, things are always evolving, and such evolution is necessary.
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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.
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I find it fascinating to see the fact that women want to buy things that they see on men.
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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.
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Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.
Raf Simons