Calvin Klein's Raf Simons Hints at Major Collaborations

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In the fashion world, Raf Simons is kind of a big deal. The 49-year-old designer may now be Calvin Klein's Creative Director, but he's also still celebrated for his work at the house of Dior and at his own namesake label. But what's next for Simons in his relatively new role at Calvin? A lot. 

At the 2017 Time 100 Gala Tuesday night in New York, Simons, who was honored as one of The 100 Most Influential People this year, opened up about the short but sweet piece rapper A$AP Rocky wrote for the magazine. 

"It was beautiful. It was nice," he told InStyle. "It's beautiful the way he kind of put that in words, in the context of this nomination," he added, explaining how the rapper also wrote about the designer's ability to influence younger generations.

As for what's to come at the brand, Simons revealed his approach to design will not change. "It has not at all and it will never," he told us. "There are different responsibilities. It's almost like a different body of work. Before I was not involved with certain aspects of the business at all, like fragrance, or the actresses that we worked with at Dior, that wasn't so much my call. Right now it's like constructing a whole new kind of work."

RELATED: See All the Looks from the TIME 100 Gala

In addition to his runway collections, that work has most recently been seen through Calvin Klein's latest campaign, which featured Lauren Hutton, Rashida Jones, and Kirsten Dunst, to name a few. But, according to Simons, that's just the beginning. "You'll find out soon," he said in reference to what's next and whom he'll tap as muses. "If you're following, you already know some. I'm not going to say names ... but many new people. Many people, everywhere." 

SHOW TRANSCRIPT

[MUSIC] I found out about it during my studies. And I thought, oh my god, you know? Like, if ever we could show there. Because I was always quite a big fan of Antti Lovag, who built this house. So for me it was quite a what a unique challenge to, to common [UNKNOWN] in this era. I've been always attracted by this environment, very much. I like the contrast between very, like, roughness, you know like the ruins and the roughness of, French, France nature and south of France nature. And also the roughness of how I perceive certain artists that took place her, or that, that came here very often like Picasso and [UNKNOWN], and [UNKNOWN] which were kind of invading this environment. At the same time link [UNKNOWN]. There was like his obsession with [UNKNOWN]. At the same time there was Natural attraction to always you know like, be inspired with nature. I didn't want to make that too literal so I did not want to take an artist inspiration and and say I didn't want to say like this is like inspired by Picasso or whatever, It was more the the kind of environment. I think it was very much an environment kind of feel also, the idea of skyscapes and seascapes and landscapes and what that could, how that could translate into a kind of abstract way into graphic in the collection. And still linking to the glamorous aspect of these environments. Like all the, the lurex pieces in the collection. For me they are kind of abstractions of, of sunsets or sundowns or landscapes but still there was a roughness. There was a kind of earthy feel to them but then they are made with these very glamorous kind of lurex materials. The same way I wanted to. Make a lot of reference to Christian Dior in a way that it was not so obvious. Especially in the architectural aspect of the collection. Like a lot of reference to the manteaux, like the full big manteaux with the pleating that he did but we didn't really, I didn't want to get to that kind of weight or impact. I also didn't want to pin down one era. One moment in time. So, you know, like the shoes. You could, you could as well think, like, funky, new wave kind of feel, which I think is so odd to put that in an environment like this. But then, they were materialized with a lot of materials that you might think Marie Antoinette, by way of speaking. I think it was interesting to do a lot of different kind of contrast. And to try to find the unity more in like a form language or something. But then bring with a lot of, with a different attitude. I think for me it was also new to, to admit that the language that was defined by Christian Dior is such a universal language and it's such, it's a language that you actually can almost not not respect. You know like the, the, the shape of a woman, you know, like the idea of [UNKNOWN], the idea of the garden. Think over the last couple, I had to admit I feel myself also more and more attracted to a certain kind of universal, universe, universality, I don't know how you say that In, in the idea of nature, in the idea of something which is easy to understand, I find that now very challenging and attracting. I think, it's then of course my nature to still add things. Mm-hm. To still maybe shake it up a little bit, or to kind of try things out. But I'm trying to really focus now on the actual woman who has been following the brand for a long time. Who has been buying the brand for a long time. See how they move on with it, with the things that I suggest. So on the one hand, I want to hold very much to the [UNKNOWN]. On the other hand, I also want to kind of Push, push it
 
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