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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
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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Movement
Broads
Strong
Broad
Work
Heritage
Much
Define
Like
Bars
Dior
People
Luxury
Belle
Quickly
Jacket
Presence
Jackets
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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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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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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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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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I'm a designer, and for me, things are always evolving, and such evolution is necessary.
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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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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.
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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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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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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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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 like very much to put on fashion shows.
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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 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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Sometimes it’s more a matter of collaboration which matters in a collection.
Raf Simons
My aim is a very modern Dior, but at the end of the day, I also look back.
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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 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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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.
Raf Simons
