Raf Simons Quotes

raf simons quotes



Computers let people avoid people, going out to explore. It's so different to just open a website instead of looking at a Picasso in a museum in Paris.


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.


I am somebody who focuses on a dialogue between generations - that's the drive of my work. I believe the young generation take the power; they'll take over at one point, but the older generation, they'll push it away only because of the fear. I'm the opposite; I'm curious.


Dress codes and gestures and attitudes have always inspired me, as has youth culture in general, although now I question it more. If you analyze youth cultures over history, there has always been something strict about them - you have to be like this or like that.


I see there is a lot of behaviour in men's fashion, which is systematic. It's a lot about all these kind of clothes that can be easily combined with each other, and it's less and less, I think, about making a fashion statement.


Every weekend, I'm on the highway to Antwerp. I need to be there, to have the calm. It's a whole different life: I jump on my bike, and it's so small, I can be anywhere in a minute. I like to be at home when there's free time because when you're at a big company, you're constantly surrounded by 30 people.


I'd like to see fashion slow down a bit. What freaks me out about fashion today is the speed - the speed of consuming, the speed of ideas. When fashion moves so fast, it takes away something I always loved, which is the idea that fashion should be slightly elusive. Hard to grasp, hard to find.


My inspiration is endless; I can't define it. It is a constant flow and evolution. In general, I'm taking it from everywhere. People get nervous when they walk with me, as I'll see something and suddenly have to text it to myself.


I want to get away from couture just being done for a picture or for a single moment on the red carpet. I want to try and convince women that couture can be worn in the day and that there's a reality and relevance there, because that's what Mr. Christian Dior wanted.


Until I was eighteen, I did not know that you could study fashion design or art. I really didn't know. I already had my nose in the art world; I was already looking at things, but I didn't really get it that you could study that because my school was a very different environment.


I fantasise about what the future could be in terms of aesthetic and psychology. It's the most difficult thing to do because you have to start from the past - your favourite architect, your favourite song - you take it all with you.


Berlin is in a state of transition. There are lots of people who don't stay here. They pass through. They might not 'clean up,' but they mature. It is a city where people spend a significant time in their lives, and then they move on.


I couldn't go now to a brand that had a niche attitude like... gothic. I couldn't do that. Well, I could do it, but I wouldn't find it interesting, challenging.


As an industrial designer, you design the thing by yourself, and then it goes away from you, whereas fashion is in constant relation to the body and to psychology. It makes it more complicated, and it makes it more challenging.


In fashion design, you can divide people into two groups. You have people who come with an aesthetic that is there forever, even if it evolves. Then you have people I call 'jumpers.' One season it can be this; the next season it's completely something else. I always knew I am more of a jumper.


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.


Antwerp literally was a trash hole, but fashion changed that. The designers there were extreme, and their work was hard to understand. But now, people from all over the world come to Antwerp to shop.


There's a very different kind of psychology going on in the fashion scene than in art. When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice.


The fashion thing is something I do, and yes, it is definitely also becoming a part of myself and my personality. It also doesn't really feel like a job, either: it's a dream or a passion or something.


I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.




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