Raf Simons Quotes
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People who don't know me look at my world as something very hard-core, and I don't feel it that way. It's not what attracts me.
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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.
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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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Our society wants things to grow, and our society wants things to become bigger and bigger. Everything has to be put under the spotlight.
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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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In my opinion, Christian Dior was never, ever theatre.
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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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I know this independence is what people like most about my brand.
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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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We Belgians love when we can go to L.A. because the city is amazing and the climate is fantastic.
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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.
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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.
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One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.
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My dad only ever talked about two things: bicycles and Mercedes.
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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.
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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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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.
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I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it.
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I'm not so rock and roll. I'm more techno.
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My ideas for the next collection always happen a couple of months before the show. I have learned to shut up and not bother my assistants with it.
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I'm shy, but not on a one-to-one basis. Over the years, I have become acclimatised to a bit of publicity.
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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.
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I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.
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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.