Quote

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.

Raf Simons

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Stills
Differently
Also
Brands
English
Still
Coming
Dior
Whole
Position
Passage
Like
Stand
Passages
Word
Construction
Fall
Brand

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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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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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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 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 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.
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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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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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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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I find it fascinating to see the fact that women want to buy things that they see on men.
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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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Sometimes it’s more a matter of collaboration which matters in a collection.
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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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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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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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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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My mother was a cleaning lady all her life.
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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 like very much to put on fashion shows.
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