Raf Simons Quotes
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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'm not an isolated person. The more I connect to people, the more I have the feeling that things work.
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Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.
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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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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 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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My own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.
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In my opinion, Christian Dior was never, ever theatre.
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I’m very attracted to things that I can’t define.
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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'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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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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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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Well, my own men's collection always felt very free back in the days before Jil. Once you make it this kind of dialogue with other people, with a fashion show and clients and whatever, it becomes something else. Free meets not so free.
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I would prefer to use the word free. I think the Dior thing is so much freer. There was not so much free about Jil's way of working.
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Sometimes it’s more a matter of collaboration which matters in a collection.
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It was a challenge for me to see how I could deal with that at Jil, and I had a lot of doubt about it. I wondered if maybe it was just better to do your own thing in the long run, like an artist.
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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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The psychology for the person who's actually doing it is completely different. I think I probably needed to put that [hired-hand] psychology in my own head to be able to do the job. Otherwise it would just be too scary. People outside make it much bigger than me. I'm not saying in my head, "Oh, my god, what an amazing idea!" It scares me if I would do that.
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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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But overall I want to make sure people fall in love with the clothes and that they are satisfied
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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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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 think it's different in fashion, because even if I would be an outsider, I would still be in the middle of the whole world of contemporary fashion. But it's interesting to think what outsider fashion could be. Does it mean to be completely disconnected from the regular system or just disconnected style-wise?
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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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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 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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The fashion world doesn't know the word stop, so you have to make sure there are sublime moments every day.
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Fashion has a long interest in collaborative situations.
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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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