The Belgian creative director of Dior releases his new own-brand collection, created with artist Sterling Ruby, in stores this month. Here’s why Simons always steals the show
Brand
What other designer would entirely re-brand for a
season? Because this is exactly what Simons has done. For AW14, Raf
Simons becomes: Raf Simons/Sterling Ruby. This collaboration with the
American artist, a friend of Simons’ for just short of a decade, is a
fully committed project – rather than the usual fashion-art union, which
involve a simple nod from the artist. Here the pair mined both their
worlds, from shape to fabric, through technique and references, to
create an entire collection with 47 runway looks. Highlights include
parkas with patches, striped duffle bags and excellent knitwear – while,
for the serious collector, there is a series of limited-edition,
hand-painted hooded coats costing £18,545, which go on sale later this
month.
Shows
Usually when people have to stand at fashion
shows it’s because: a) they’re deemed not worthy enough for a seat; or
b) the seating has collapsed (see
Balenciaga, 2011).
This June, in Paris, Simons staged his SS15 show minus a seating plan.
Instead, the audience assembled themselves in no particular order behind
tape on the floor that marked out where the models would walk. The boys
came out at random under the glow of a reddish and greenish lights. It
made you look harder. There was suspense. There were passport photos of
Raf on shirts. There were Japanese symbols or photos of his parents
during their courtship on the backs of coats. It was thrilling.
Synthesis
Simons is not the only designer who has both his own line and a big
fashion house gig, but surely the juxtaposition of these labels creates a
particularly interesting tension? Antwerp-based menswear modelled by
boys with awkward fringes versus one of the most revered French houses
of them all, with couture gowns, A-list starlets and ladies that lunch.
Of course, this also means excitement when the two worlds converge,
whether that’s a dash of Simons’ mainline sci-fi-ness at Dior, or a Dior
detail cropping up in his own line. (Note: the row of five buttons on
jackets at his Dior resort show also appeared in his men’s collection
for next spring.)
Designs
His men’s designs are youthful
and young, energetic and challenging – but you still want to wear them.
Seriously, I’ve left a Simons show pumped up with the quandary: could I
legitimately get away with wearing a sleeveless top? Or a pair of
trousers so wide that they look like a maxi skirt? And so on. But
despite there always being key stand-out (and often) extreme fashion
pieces in his collections, you’ll also find things like the perfect pair
of black trousers, too. I have two pairs of black Raf slacks that I
love, and I am soon to buy a third: plain black with orange piping.
Subtlety
He doesn’t deliver cultural references with a sledgehammer. Quite
often at fashion shows, the designated “inspiration” for a designer is
hammered home either through very explicit show notes or in the nature
of the collection itself. With Simons, the references are quietly
stitched throughout the clothes. There might be an image of Manic Street
Preachers on a piece of clothing, say, or the music from Under the Skin
could be on the show soundtrack, or the model’s hair might be a bit
Blade Runner – but it’s never so simple as to be one-note.
Privacy
He
doesn’t go to the opening of an envelope. Simons is rarely photographed
frolicking with A-list celebrities or fashion-scene types. But then
fellow Belgians, such as Dries Van Noten or Martin Margiela, will hardly
go down in history as media darlings either, will they? Modern.
Style
He
always wears a great outfit to Frieze, which may be the Simons
equivalent of a red carpet. Mostly, he likes to bust out a Prada coat.
In 2012, in London, he chose a runway number,
look 18 from AW12, with a furry collar. Meanwhile in 2014, in New York, it was a checked gingham overcoat,
look 12 from AW13, and worn with trademark Stan Smiths.
