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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

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Freedom
Skill
Woman
Area
Find
John
Much
Fantasy
Every
Areas
Restricts
Something
Skills
Technical
Especially
Dont
Respect
Relevant

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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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My mother was a cleaning lady all her life.
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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'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.
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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.
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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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Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.
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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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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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Sometimes it’s more a matter of collaboration which matters in a collection.
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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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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.
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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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Unlike fashion, art isn't applied. It doesn't have to serve anybody. It doesn't have to be there for any other reason than to give an impression of what the world is about.
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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.
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My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.
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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 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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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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