WEAVING between bouquets of flowers and empty wine bottles, the AW18 collection by Raf Simons portrayed a delicate sentiment, conflicting with the dark undertones of the main inspiration. On first appearance, an innocent mind imagines the collection has a manner of countryside chic, with traditional checked blazers and rubber boots. But when the surrounding decoration is given the context of overindulgence, the underline message of the collection begins to take form.
Raf’s commitment to pushing contemporary design is noted from the off, with deconstructed-knit jumpers being a focal point for the show’s duration. Names of illicit drugs printed onto patches and apparent pillboxes strapped around wrists are the first insight to the Berlin drug culture inspiration, followed shortly by prints depicting the infamous German drug addict (and star of the eponymous film) Christiane F. There is a literal reference to Drugs, a book and play by Cookie Mueller and Glenn O’Brien, as the cover is printed onto deconstructed hoodies in the original colours the book is available in, bad cut yellow and prescriptive orange colours.
The negative connotation of the obvious influence is balanced out by the use of vibrant colours and sophisticated cuts. Exaggerated silhouettes and oversized clothing are trademarks Raf has become known for are uncompromising of practicality, as large pockets and a range of garments allow the collection to have purpose. The stance against designer drugs is the clear meaning of the collection, executed perfectly by Raf, leaving us (fashion) addicted and wanting more.
by Todd Burns