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I’m not getting all agony aunt here, but it strikes me again and again when thinking of fashion houses, their creative directors and their creative direction.The most recent storm to brew in fashion’s teacup concerns Raf Simons, the outgoing creative director of Christian Dior’s womenswear – and his departure got me thinking about trust, particularly the trust big corporations should have in designers’ ideas, ability and vision.The well-crafted video for his track “RAF” sees Rocky paying his respects to Simons by including some very intricate details that some may have missed on first glance.This includes recreating a handful of shots dating all the way back to the 1995/1996 autumn/winter collection.He once told me that Dior would never be his, which is, of course, true.

They coo over a pair of trousers he’s wearing and look visibly deflated when they learn he has a boyfriend.Mulier winces slightly when reminded of this, “That was a scene that I thought, 'Umm maybe not necessary!' But my mother saw it and said it was really funny.” Emerging as the secret breakout star of the movie, much like Grace Coddington did in The September Issue, perhaps what that scene illustrates is how vital Mulier is at Dior, acting as an intermediary between Simons and the atelier.They trust tried and tested sales figures, staid saleable clothes and advertising imagery with high-profile celebrities clutching handbags.Simons was given autonomy at Dior – he was trusted – but his trust was limited by his role, as head of women’s clothing alone (the house had been burned by the very public implosion of John Galliano, whose remit was far wider).

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