Raf Simons Sweaters

new RAF SIMONS 2020 Support Labs XL pearl pin brooch patchwork oversized hoodie XS Reference: TGAS/D00200 Brand: Raf Simons Designer: Raf Simons Collec...

Emerging from the beginning of an era in which Simons became ultra focused on subverting traditional styles of proportion and layering through cut-outs and crops, this hoodie feature...

CHRISTIAN DIOR Raf Simons 100% wool navy cinched waist ribbed sweater FR34 XS Reference: TGAS/C01938 Brand: Christian Dior Designer: Raf Simons Material: Wool Color: Navy Pattern: So...

RAF SIMONS AW12 sweater comes in a green & burgundy ombre cotton featuring panel design and a crew-neck. Made in Portugal. Good Pre-Owned Condition. Light wear. As-is. Marked: L M...

Raf Simons’s fall 2016 show paid homage to David Lynch. It’s not difficult to find the overlap between Simons and Lynch, an iconoclast who injected surrealist horror onto a palette of bubblegum pop Americana. The show was staged on Lynch’s birthday, and the soundtrack was a discussion with composer Angelo Badalamenti, who scored “Twin Peaks.” Simons also cited Martin Margiela as an influence, and the legend’s remnants were plainly seen in the extreme proportions sent down the runway, along with elaborate distressing. This immensely oversized varsity sweater...

RAF SIMONS sweater comes in a black & white knitted cotton blend featuring a crew-neck and a back logo patch detail. Made in Italy. Very Good Pre-Owned Condition. Marked: L Measur...

This hoodie was not directly tied to any collection, and was rather created for especially for the boutique, Avantgarde. The style is immeidately reminiscent of Raf’s graphic work from the era, juxtoposing collage imagery against words that imply isolation and lonesomeness. The hoodie itself is cut with a drop shoulder, and features a unique double layered...

This hoodie borrows a silhouette first seen in Raf Simons’s AW2004 “May the Circle Be Unbroken” collection. The arm holes are cut abnormally low, while it has the extremely oversized...

Raf Simons’ fall 1997 collection leaned heavily into his prep school background — Raf himself was the son of an army man and attended Catholic school. Cable k...

Spring 2006 celebrated the tenth anniversary of Raf Simons’s eponymous label. The occasion was marked by a retrospective book, and an unusually decadent runway show held at the Boboli Gardens in Florence. The season was titled “Icarus Surgit,” after the notorious figure of Greek lore who flew too close to the sun. The idea of flight was evidently on Simons’ mind during the creative process, which resulted in a runway full of lightweight, oversized fabrics of lace and mesh, many of which featured cut-outs, slashes, and other open details. This design is adopted from spring 2003's "Consumed" collection. It fits in seamlessly to a collection that focused on open skin, and garments that moved when in motion — oversized trousers...

“Consumed” was the culmination of a two-year run which began with AW2001’s "Riot Riot Riot,” and continued through SS2002 “Woe Onto Those Who Spit on the Fear Generation…” and AW2002 “Virginia Creeper.” Throughout these collections, Simons abandoned his mediations on schoolboys and the upper class in favor of the in-your-face-angst of the working class. Where he once employed the visuals of bygone rockstars, borrowing niche images of Peter Murphy and Kraftwerk which were intended to hold significance merely to a select few, he was now reclaiming mass imagery such as Playstation and Jaws to craft a statement about where such monoculture was shepherding society. “Consumed” visualized the future as a dystopian cityscape in which brands became one’s identity. The clothes were covered with directionless collages of logos, while atop them models wore Coke cans and Marlboro packs...

“Consumed” was the culmination of a two-year run which began with AW2001’s "Riot Riot Riot,” and continued through SS2002 “Woe Onto Those Who Spit on the Fear Generation…” and AW2002 “Virginia Creeper.” Throughout these collections, Simons abandoned his mediations on schoolboys and the upper class in favor of the in-your-face-angst of the working class. Where he once employed the visuals of bygone rockstars, borrowing niche images of Peter Murphy and Kraftwerk which were intended to hold significance merely to a select few, he was now reclaiming mass imagery such as Playstation and Jaws to craft a statement about where such monoculture was shepherding society. “Consumed” visualized the future as a dystopian cityscape in which brands became one’s identity. The clothes were covered with directionless collages of logos, while atop them models wore Coke cans and Marlboro packs...