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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

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Felt
Heritage
Cannot
Period
Thought
Totally
Also
Connected
Really
Periods
Way
Stay
Open
Approaching
Wrong
Strict

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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Sometimes it’s more a matter of collaboration which matters in a collection.
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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 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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My aim is a very modern Dior, but at the end of the day, I also look back.
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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 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 find it fascinating to see the fact that women want to buy things that they see on men.
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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 like very much to put on fashion shows.
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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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I'm a designer, and for me, things are always evolving, and such evolution is necessary.
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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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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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My mother was a cleaning lady all her life.
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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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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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Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
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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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