Raf Simons People Quotations

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.

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.

Fashion is so mass-produced now; I hope there will come a refocus on how people see couture. And I would also hope for a new focus on the craft.

I know this independence is what people like most about my brand.

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.

There are people who, if they see something in couture that they perceive as ready-to-wear, they're in shock.

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 was growing up in the New Wave period, but that wasn't allowed in school. I remember moments when they wouldn't let four people dressed in black stand together on the playground.

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.

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.

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.

In the nineties, it was common to see people who expressed themselves through one designer - the Jil Sander woman, the Martin Margiela woman. You saw her on the street, and you knew who she was.

I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.

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.

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.

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.

But overall I want to make sure people fall in love with the clothes and that they are satisfied

In fashion, general people will look to the piece itself. [Some designers] concentrate on, 'How can I make this seam look special?' or 'What am I going to do with that button so it looks interesting?' I am not interested in that. At the moment, I am more interested in the shape and the form. I have a big desire to make clothes without defining them.

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.