Raf Simons

Raf Simons AW03 "Closer" Power, Corruption & Lies Vinyl Label Hoodie. In the Fall/Winter 2003 "Closer" collection, Simons took liberty in pulling from Peter Saville’s archive with Factory Records' permission. Saville, co-founder of Factory Records -- a label company with a strong-willed manifesto tied to the art world, is very deliberate and particular with the choices he makes creating the album art despite it looking pedestrian on the surface. Saville reappropriates artwork to tie to the motifs of the music, resulting to some of the most universally recognizable album covers of all time. A replica Henri Fantin-Latour’s ‘A Basket Of Roses', currently shown in London, is featured as the artwork for New Order's 1983 album "Power, Corruption & Lies" in which Saville interprets as "Flowers suggested the means by which power, corruption and lies infiltrate our lives. They’re seductive.". A palette of  cryptic geometric colours are arranged on the top right of the album. These colours actually are a code, a code which cipher is located on the sleeve, and if transcribed reads "FAC. 75" which is the catalogue number (internal reference for the record label) for the album. On the actual vinyl record disc, printed on the vinyl label, is the artwork featured on the hoodie here. A typographic piece, arranged in a clock-like circular format informing the PCL album's details. Size 48, massive.

Raf Simons FW01 Riot Riot Riot! Patched MA-1 Camo Bomber. The nearly tiring reminder, but well merited and critically acclaimed Raf Simons collection that represents the cornerstone of men's "archive". The conversation piece that served as a catalyst to mainstream interest of Raf Simons and past mens fashion as a whole; The Riot Riot Riot! patched bomber still stands today as one of the most coveted articles of men's clothing. Simply a Fostex bomber, purchasable at many army surplus stores around the world, patched on with images of Bowie, Richy Edwards, a Bauhaus Poster, and an article for the missing Edwards from the Manic Street Preachers. After sporting sleek, monotone capes, cloaks and academic looks in the 90's, Raf took a hiatus and returned with the iconoclastic Riot collection. Featuring layered compositions of jackets over coats and massive pants with scarves wrapped around the models' faces which look was inspired from east european youth layering for cold winters. In a time where sleek geometric minimalism or gaudy buckle belts with distressed jeans were a common occurrence on the runway, Raf Simons introduced a baggier, menacing look compelled by his music/film interests plastered on clothing in a postmodern mishmash which many are still inspired by 20 years later today. 9/10 condition. OS

Raf Simons FW05 "History of My World" All Shadows Hoodie. Despite the runway being absent of the highly sought after graphics for this season, Simons looked to revisit his personal milestones in his past for the two part FW2005 collection. Raf's display to his connection to music is undoubtedly the primer to his most compelling garments. FW05 was one of the last displays of such meaning, departing from such endeavors and focusing more so on modernist, sleek cuts inspired by euro subcultures. Graphics throughout this season were labeled with cryptic lyrics from The Cure, graphics inspired by the 1982 film "Poltergeist", and even a few references to experimental musician John Cage. The hoodies, tees and sweaters were massive and overwhelming, patched with what looks like a collage of Raf's personal visual displays, with the help of peter de potter, of his inspirations and nostalgia. Just like the old days Caressing an old man And painting a lifeless face Just a piece of new meat in a clean room The soldiers close in under a yellow moon All shadows and deliverance Under a black flag A hundred years of blood Crimson   8/10 condition. Size 46, fits massive.

"There are three reasons to come to Paris: Hedi Slimane of Dior, Tom Ford of Yves Saint Laurent and Helmut Lang. Actually, there is a fourth -- Raf Simons, who in a parking garage on Sunday night -- on a platform made of crushed soda cans -- superbly articulated how contemporary culture has become a thoughtless Pac-Man, gobbling up products as well as references. It's rare for a designer to make a political statement in fashion and still offer wearable clothes" -- Cathy Horyn 2002 Raf Simons SS03 "Consumed" Penelope Tree Shark Hoodie in blue over black. SS03 "Consumed" is Raf's quiet observation of consumerism, or to be "consumed" by consumerism -- Its effects on youth; Their impartial interaction with such commercial entities and the molding of adolescent identities rooting from the collective indifference towards the squandering influence of commercial identities. This is the iconic and highly sought after hooded sweatshirt featuring Penelope Tree, from Truman Capote's Black & White ball, and Steven Spielberg's mechanical shark from Jaws in the backdrop, with "Diamond Co-Opted" written underneath the kangaroo pocket. The Penelope Tree print featured here on the hoodie derives from a picture which served as a pivotal point in fashion, youth culture and high society America. The original black and white picture has beanpole figured Tree staring dauntingly out in the distance from amongst a group of middle age socialites. This grabbed the attention of prominent figures of fashion and despite strong opposition from Penelope's father, as she was 16, Penelope Tree became the quintessential swinging sixties icon which galvanized female youth culture and movements at the time. Furthermore, inspired a generation of artists and designers to look at youth culture for inspiration and solidified the Youthquake movement. As for Raf Simons, and this is purely out of speculation, Penelope Tree holds a special place of interest as his source of inspiration will be and has been the youth.