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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.
Raf Simons
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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
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Changing
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Dior
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More quotes by Raf Simons
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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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 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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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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Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
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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 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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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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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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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 find it fascinating to see the fact that women want to buy things that they see on men.
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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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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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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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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'm a designer, and for me, things are always evolving, and such evolution is necessary.
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I'm not so rock and roll. I'm more techno.
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I like very much to put on fashion shows.
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