rafsimons hashtag performance

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Calvin Klein 205W39NYC: The Raf Simons Story #fashion #calvinklein #rafsimons

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Wise words from Virgil Abloh One of my favorite lessons from him #virgilabloh #kanyewest #fashion #fashiontiktok #runwayshow #runwayfashion #marcjacobs #pharellwilliams #713mag #vogue #rafsimons #rickowens #grailed #offwhite #louisvuitton #seedsus #713mag

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Ann Demeulemeester’s Spring 1998 collection, titled “Corps Humain” (Human Body), is a profound exploration of the interplay between the fragility and strength of the human form. This collection stands as one of the most emblematic of her oeuvre, showcasing her commitment to poetic design and her unique ability to balance sensuality with androgyny. At its core, “Corps Humain” was a study of vulnerability and exposure. Demeulemeester sought to highlight the contours and movements of the human body, creating garments that appeared to be almost an extension of the skin. The collection emphasized transparency, lightness, and delicacy while maintaining an undercurrent of raw strength. Her signature black-and-white palette was complemented by soft beige and nude tones, echoing the natural hues of the body and reinforcing the theme of corporeal connection. The collection featured a masterful use of sheer fabrics, including tulle and chiffon, which gave the garments an ethereal and ghostly quality. These materials were layered and draped to create silhouettes that both concealed and revealed, reflecting a tension between intimacy and detachment. The play of light on these semi-transparent textiles created a sense of movement and fluidity, as if the garments themselves were breathing. One of the most striking elements was the deconstruction of traditional tailoring. Jackets were elongated or cropped, with asymmetric cuts and raw edges that lent a sense of imperfection and humanity to the pieces. Straps and bands wrapped around the body like bandages, emphasizing the fragility of the flesh while suggesting a protective armor. The silhouettes oscillated between close-fitting, second-skin designs and loose, flowing garments, demonstrating Demeulemeester’s skill at balancing structure with softness. Accessories in the collection were minimal but impactful. Leather harnesses, a recurring motif in Demeulemeester’s work, were reimagined as skeletal frameworks, further accentuating the anatomy of the wearer. Footwear, often overlooked in fashion narratives, carried a utilitarian edge, with flat-soled sandals and low-heeled boots that grounded the ethereal garments in reality. Hair and makeup were kept understated to maintain focus on the clothes and the body itself. Models wore their hair slicked back or loose and natural, and their makeup emphasized pale, translucent skin, reinforcing the collection’s themes of purity and rawness. The collection was presented in an intimate setting that heightened its emotional resonance. The minimalist runway allowed the garments to speak for themselves, and the subdued lighting created an atmosphere of quiet contemplation. The models moved with a deliberate grace, their pacing mirroring the languid flow of the clothes. The presentation felt less like a traditional runway show and more like a performance piece, aligning with Demeulemeester’s artistic vision. Critics praised the collection for its poetic sensibility and intellectual depth. It was not merely a demonstration of beautiful clothing but a meditation on the human condition—its vulnerabilities, its strength, and its beauty. Demeulemeester’s ability to merge fashion with art was particularly evident here, as she created garments that transcended function and spoke to the soul. In retrospect, the Spring 1998 “Corps Humain” collection is celebrated as one of Ann Demeulemeester’s most defining moments. It encapsulated her ability to strip fashion down to its essence while imbuing it with layers of meaning. The collection remains a testament to her artistry and her commitment to exploring the profound connection between clothing and the human experience. For more in-depth articles and videos go to sevenonethreemag.com #fashion #anndemeulemeester #rafsimons #highfashion #fashiontiktok #archivefashion #runwayfashion #fashionweek #grailed #fashionmagazine #vogue #commedesgarcons #cdg #713mag #seedsus #713studios

Hussein Chalayan is a visionary whose work blurs the lines between fashion, art, technology, and architecture. Born in Cyprus in 1970, he moved to the UK in 1978 and graduated from Central Saint Martins in 1993. His graduate collection, “The Tangent Flows,” featured garments buried to oxidize, showcasing his fascination with decay and setting the tone for a career of groundbreaking innovation. Chalayan’s designs merge concept and functionality, incorporating technology in ways that redefine clothing. From dissolvable dresses and robotic garments to the wireless Remote Control Dress of Spring 2000, his work consistently challenges the boundaries of fashion. His collections often explore themes like identity, power, and survival, shaped by his Turkish Cypriot roots. The “Afterwords” collection (AW 2000) transformed furniture into clothing, reflecting on displacement and loss during the Kosovo War. Architecture and cultural critique also inform his designs. In “Between” (Spring 1998), Chalayan examined modesty and societal perceptions of Islamic women, while collections like “Lands Without Scent” (SS 1997) and “Panoramic” (AW 1998) explored the body’s relationship to space and cityscapes. Though now focused on academia, Chalayan’s legacy remains unparalleled. His body of work continues to push the limits of what fashion can represent, offering a profound synthesis of technology, art, and human experience. #fashion #runwayfashion #fashioneditorial #archivefashion #designerfashion #archivefashion #art #runwayfashion #rafsimons #vogue #rickowens #grailed #713mag #seedsus #713studios

In Spring/Summer 2004, Yohji Yamamoto and Adidas pushed their Y-3 collaboration into new territory, blending bold sports-inspired design with high fashion innovation. Just a year after Y-3’s launch, Yamamoto celebrated the line’s success by hosting a grand spectacle—a performance that drew inspiration from athletic ceremonies. Models paraded like athletes in a victory lap, waving Adidas’ iconic three-striped flag. The finale saw Alek Wek take center stage, donning a piece emblazoned with “Yohji Yamamoto” as David Bowie’s anthem “Heroes” played, symbolizing triumph and individuality. This season’s focus was on lightness—both in material and movement. The collection was a masterclass in how sportswear could transcend function, introducing pieces that were not only practical but also visually striking. For the first time, Y-3 ventured into beachwear, proving that activewear could thrive far beyond the gym. The brand’s signature three stripes became an integral design element, woven seamlessly into everything from tops to accessories. But the real standout was a pair of striped jeans, now considered a collector’s item, crafted by the Japanese denim company Spotted Horse Craft, which had previously partnered with Yamamoto on other projects. Adding a layer of storytelling to the collection, Yamamoto introduced pieces adorned with illustrations of fictional athletes and gold medalists. Among them was a playful self-portrait of Yamamoto, designed by Saeko Tsuemura, whose art had featured in some of the designer’s earlier collections. Tsuemura, reflecting on the experience, said, “It felt surreal to be part of such an artistic vision. Fashion and illustration come together in ways that allow for new creative possibilities.” To celebrate the line, Colette, the legendary Parisian boutique, hosted a special exhibition showcasing Tsuemura’s artwork. Guests could explore the creative process behind the designs, receive signed prints, and even take home exclusive gold medals that symbolized the collection’s theme of victory. This season’s impact wasn’t confined to the runway or exhibitions. Y-3 found its way into popular culture, with Usher sporting a track jacket from the collection in his music video for “Burn.” This moment reinforced Y-3’s ability to resonate far beyond the fashion world, carving out its place as a cultural phenomenon that blended art, sport, and style with ease. For more articles and videos go to sevenonethreemag.com #fashion #japanesefashion #yohjiyamamoto #y3 #adidas #art #fashionweek #archivefashion #rickowens #rafsimons #archive #713mag #seedsus #713studios #masionmarigela #fyp #virgilabloh

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Yohji Yamamoto returned to the Paris stage in July 1996 with a menswear collection that rejected minimalism and embraced bold extravagance. Titled Baroque, the collection defied the quiet simplicity often associated with men’s fashion. It celebrated what Yamamoto called “the bad taste of a grown man wearing clothing made for women, too tight for ease and overly adorned for restraint.” The show opened with Yamamoto’s signature suiting—refined and familiar—before erupting into a kaleidoscope of vibrant prints, flowing silhouettes, and unconventional sneakers crafted from a mix of materials. The collection merged the dramatic opulence of Baroque-era aesthetics with the rebellious energy of mid-century urban style. Hawaiian shirts and oversized trousers brought a sense of relaxed masculinity, while tailored tops borrowed from womenswear hinted at a softer edge. Denim and sportswear also played significant roles, with several models sporting Reebok InstaPump Fury OG sneakers. In a bold casting move, the runway featured a roster of celebrated figures, including Vincent Gallo, Ron Perlman, Seymour Cassel, Tony Leung, and Chang Chen, alongside James Lavelle. The backstage energy, captured by photographer Christophe Rihet, was later compiled into an evocative visual booklet, immortalizing the creative chaos of the moment. Subtle touches added depth to the collection, such as Yamamoto eyewear, which made an understated debut on the runway. Seymour Cassel, for instance, donned sunglasses from the Autumn/Winter 1996-1997 line, seamlessly blending past and present. While the collection was undeniably bold, it wasn’t without criticism. Some voices in the fashion world, like Amy M. Spindler, felt that Yamamoto’s menswear lacked direction at the time, while Suzy Menkes suggested the designer’s anti-establishment attitude seemed out of step with the strides menswear had recently made in breaking traditional boundaries. Nonetheless, Yamamoto’s defiance of convention proved as daring as ever. In a world of streamlined minimalism, he remained committed to exploring the dramatic, the playful, and the unapologetically excessive. For Yohji, the challenge is always worth taking. For more articles and videos go to sevenonethreemag.com #fashion #yohjiyamamoto #masionmarigela #margiela #virgilabloh #yeezy #archivefashion #juntakahashi #undercoverism #hedislimane #rickowens #rafsimons #japanesefashion #vintage #fashionrunway #fashionweek #vogue #713mag #seedsus #713studios

A curated collection of vacation photographs capturing Issey Miyake and Kensuke Ishizu’s journey to the 1992 Olympic Games in Barcelona, with stops in Mallorca and London. (1992) #isseymiyake #japanesefashion #rafsimons #maisoargiela #virgilabloh #kanyewest #fyp #juntakahashi #juntakahashi #art #fashionweek #archivefashion #rickowens #fashion #713mag #seedsus #713studios

thank you #fyp #fashion #rafsimons

Jil Sander Lookbook (SS 1995) Photography: Craig McDean Design: Marc Ascoli, Michael Amzalag, and Mathias Augustyniak For more articles and videos go to sevenonethreemag.com #fashion #fashioneditorial #jilsanders #isseymiyake #japanesefashion #rafsimons #maisonmargiela #highfashion #kanyewest #art #fashionweek #archivefashion #713mag #vogue #713studios #seedsus

Luigi Mangione Seen Wearing A $1,000 Maison Margiela Sweater At The Manhattan Criminal Court In New York. #fashion #maisonmargiela #luigimangione #vogue #713mag #jilsanders #rafsimons #grailed #highfashion #archivefashion #margiela #hedislimane #rickowens #seedsus #713studios

Anyone got one of these? #rafsimons #raf #calvinklein #ck205 #calvinklein205w39nyc #fashion