Raf Simons S/S 2015 Paris

[marcBarna]

Instagram/prconsulting

 

[marcBarna]

Instagram/patriksandbergvevo | Instagram/marceloburlon

 

[marcBarna]

Instagram/thewerewolfboy | Instagram/matthew_marden

 

[Thefrenchy]

Oh so they had a standing policy to make it look like a nightclub?

I wonder if they'll release some lookbook photos because I assume we won't get to see much if it's covered by coloured lighting...

 

[marcBarna]

nowfashion

 

[marcBarna]

nowfashion

 

[marcBarna]

nowfashion

 

[GIVENCHYlover]

I like the first white coat

 

[marcBarna]

nowfashion

 

[xoxoadore]

seems so heavy for spring/summer, hmm I don't really like it. don't see anything interesting about it...

 

[BerlinRocks]

i've seen some other images, like back shots and stuff. and even though i really like Raf, his work, etc. and I have a lot of respect for him. I'm getting exhausted with him putting art, collages, and stuff EVERY where.... The outfit I wanna buy in stores has to stop being a blank canvas Raf feels the need to fill....

And adding your portraits on outfits is ........ pretty embarassing.

 

[IloveDiorHomme]

and another gimmick collection full of mess and It-T-shirts that bloggers will wear in 6 months.

For the last 2 years, Raf Simons has been doing the same, again and again. Whereas before each collection was much more personnal and a clear statement.


His must be too busy at Dior to focus on something creative for his own line. Can't blame the man...he is under pressure.I don't mind Raf's portrait on the coat. It was one of the little details I appreciate in this collection. The styling is awful... I mean this hairdo is terrible.

 

[marcBarna]

HQs



fashionising

 

[marcBarna]

fashionising

 

[marcBarna]

fashionising

 

[Marc10]

Well this sure makes me love the already great clothes to a whole new level.

JUNE 25, 2014
PARIS
By Tim Blanks

Every creative act starts with a memory. Artists thrive on the recalled image, feeling, taste, scent. If they're not embracing memory, they're consciously reacting against it. But why bother? There is no escape from the past. It's a beautiful thing, and Raf Simons proved that tonight. On the back of most of the coats and jackets in his collection were sailor collars collaged with fragments of his personal history—the actual and the imagined. "Like mood boards you'd pin your favorite images to," he said. Friends, family, a fluffy kitty, a roller coaster, Mt. Fuji painted by Hokusai, a koi pond, a shark, a swimmer in peril, an astronaut…it seemed furiously random until Simons parsed the images.

Those old photos were of his parents courting fifty-five years ago. The roller coaster, the one he rode with his friends Olivier Rizzo and Willy Vanderperre decades ago. The Japanese influence was his thank-you to the first retailers who ever supported him. The shark was Jaws and Simons' love of horror movies; the swimmer in peril was danger; the astronaut was isolation…surely you've composed a psychological profile by now. In the middle of it all, an old passport photo, Simons in a Superman T-shirt. That shirt was part of Rizzo's graduate collection from Antwerp's Royal Academy of Fine Arts, the Central Saint Martins in this story. As Rizzo was telling the tale backstage, Simons appeared with the very same T-shirt and gave it back to him, twenty-five years later. Cue tears.

It was that kind of night. The febrile atmosphere was established by the soundtrack—Mica Levi's ravishingly ominous music for Jonathan Glazer's film Under the Skin—and the lighting, red for danger, green for nature. Combined, they created the white light that, according to show producer Thierry Dreyfus, illuminated horror movies in the seventies. It had a dislocating effect, throwing much of the presentation into shadow, so the boys in their dark suits looked like Men in Black, moving eerily through the throng. Oh, yes, forgot to mention, the audience was standing, because, said Simons, "you perceive things differently when you're upright."

As far as he was concerned, what he did was the only possible reaction to the experience of working with artist Sterling Ruby on the Fall collection. That was such a sweet surrender that Simons said, "I could only go deep into myself to find another challenge." He's a supremely organized individual, but maybe Ruby left him with an appetite for chaos. "It's interesting to let go," he agreed.

Mr. and Mrs. Simons, whose courtship had been incorporated into their son's collection, were backstage for the whole show, the first time they'd actually experienced the mechanics of Raf's profession. His mom was visibly moved. His dad wanted to get back to watching soccer. France playing in the World Cup. Memories are made of this.

style

 

[elle_gb]

There's always quirky element in Raf's collection. I don't like the fit but others are great.

 

[Scott]

^indeed. seems there is always a method to the madness. very romantic idea too. i have to say as well a lot of this echoes the sharp youthfulness of his first collections. and btw,he was doing cult t'shirts back then too....remember "black palms"?

 

[margielamike2004]

http://charlieporter.net/

 

[margielamike2004]

On some of the pieces, there is actually a photo of Raf Simons taken back-stage during his 1998 Black Palms Collection.

Some of the sleeveless pieces...are actually hand-beaded!!!....Remarkable workmanship!!