Scene setting: Simons’s show was held an hour outside of Paris in an industrial hanger-like space – he enjoys presenting his work outside of the inner circle, and so the mood was both cautious and cool. There was a punky spirit to the S/S 2020 collection bolstered further by the bricolage set. Guests sat on standard-issue office swivel chairs, wrapped in glossy black plastic designed by Bureau Betak. The floor was a pale purple carpet. The music ricocheted off the metal walls.
Mood board: Earlier in the season, Simons’ longstanding collaborator Sterling Ruby debuted his own line of ready-to-wear and accessories at Pitti Uomo 96; the rumour was that Simons’ hand was all over it (his right-hand man Pieter Mulier even walked in the show). For Simons’ label, the painterly graphics and textures of Ruby’s work was there in T-shirts which were printed and then painted, almost lacquered over. Long collarless jackets – labelled RS lab coats – had scraps of fabrics pinned on as if ready to be resampled. Shorts were cut high on the thigh and covered in patches that read: ‘MY OWN PRIVATE ANTWERP, ‘STONE(D) AMERICA’ and ‘HOW TO TEXT YOUR TEEN.’ Everything Simons does smells like 90s teen sprit. The look had a rebellious collegiate kink. Smock dresses worn on top of shirting and rolled up trousers had ruched gloves which gave them a perverse punk.
Best in show: Standout were the outerwear and coats. A check dressing gown style and a camel trench came with lapels folded in on themselves. A double breasted blazer had its sleeves hacked off. Late 1980s dinner jackets with wide shoulders and white lapels were shrugged on over horror-movie-summer-camp-clothes. Leather wellies were embossed with upside down smiley faces. §
