Raf Simons Returns to Paris with a New Perspective
This season, Raf Simons made his much-anticipated return to Paris after a stint in New York with Calvin Klein. He chose a unique venue in Montreuil, an artistic suburb known for its studios and artisanal factories. The setting featured silver mannequins suspended from the ceiling, adorned with T-shirts from the collection, and vibrant frames filled with black-and-white images of punks, reminiscent of Derek Ridgers’ British punk photography in a lo-fi Derek Jarman-esque environment.
The music selection was quintessentially Raf, starting with Bauhaus’ 1982 track “Bela Lugosi’s Dead” and transitioning to Giant Swan’s 2017 post-punk techno piece “IFTLOYL.” The collection paid homage to key moments in Simons’ career, such as the can jewelry from Spring 2003, now reimagined as accessories paired with perforated plastic tops and bags resembling six-packs of beer encased in plastic and leather. The hair elements from Fall 2012 resurfaced in the form of lightweight, brightly colored scarves integrated into the garments, often wrapping around the neck like a turtleneck.
Impeccably tailored duchesse satin coats in vibrant hues reminiscent of Teddy boys showcased Simons’ couture inclinations, highlighted by deconstructed coats with exposed seams and linings. Despite the familiar tailored punk aesthetic, there were no hoodies or sweatshirts to be seen. This absence suggested that Raf might be signaling a shift. As a pioneer of the street-meets-fashion style, his duchesse satin-laden collection served as a bold statement. Nevertheless, it’s clear that Simons has always had a penchant for boys in tailored suits. His take on punk was more about new-wave punk, characterized by those who couldn’t afford denim and instead scoured charity shops for suits to stand out, often ending up with a vintage Yves Saint Laurent suit paired with a band tee.