Quote

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

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Never
Doesn
Desks
Men
Shows
Weird
Thinking
Two
Busy
Like
Thought
Constant
Thing
Difference
Work
Differences
Years
Year
Antwerp
Really
Process
Desk

More quotes by Raf Simons

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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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I like very much to put on fashion shows.
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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.
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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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I'm not so rock and roll. I'm more techno.
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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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I'm a designer, and for me, things are always evolving, and such evolution is necessary.
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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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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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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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My aim is a very modern Dior, but at the end of the day, I also look back.
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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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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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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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My mother was a cleaning lady all her life.
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Sometimes it’s more a matter of collaboration which matters in a collection.
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I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.
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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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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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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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