Now that some time has passed since Raf Simons's departure at Calvin Klein, surely he has moved on. Au countraire! Instead, Simons debuted a very critical view of America with plenty of drug references and chaotic prints, seen on shirts and tees. "Stoned America" was seen on everything from accessories to tops, was this a reference to the drug crisis that's affecting millions of lives in America (and the world)? Could it be a reaction to the growing number of states that have legalized recreational marijuana? Honestly, it's anyone's bet but what is clear is that this collection had a dark, looming cloud over it. As for the clothes themselves, they were archetypal of Simons's vision: full of boxy jackets, oversized shirts and constraining layers - the latter evidenced by tight fitting knits that hugged and almost suffocated the body, like an addiction might. Is there hope in sight for this "Stoned America" that Simons sees? Judging from this collection: no.

Raf Simons's Fall/Winter 2019 collection would've been closely watched regardless of what he showed on the runway since it is his first outing after a surprise and abrupt exit from Calvin Klein. Thankfully, what he offered was luscious. The main (or really, only) story here was the multitude of coats, starting off a bit safe - think military inspired but elongated - then the coats exploded with vibrant hues of magenta, lemon, and emerald! It was a coat-lover's dream and if one wasn't a big fan of coats before, we would wager that the various of iterations here - oversized, colorful, speckled with accessories - might change a few minds. Who cares if there was nary a shirt or tee seen? With one great coat, that's all one needs.

What has been percolating in the underbelly of the menswear industry was thrown in front and center at Raf Simons: a rebuke of sporty, athletic and an embrace of elegant tailoring. Though the proliferation of casual sportswear has yet to peak within the general public; high fashion, or at least its most influential voice, is saying "enough". Simons also returns to Paris Fashion Week, a late decision that caused him to not be on the official schedule, and with this return sees him coming back to his roots as well: New Wave, with a series of printed photographs from a concert in Stockholm with none other than The Clash. These are actual photographs from that concert in 1977 and they added a nice juxtaposition to the beautifully crafted, boxy jackets and coats, nearly all made in Duchess satin, a fabric so high end that it almost never appears in menswear and is mostly only seen in haute couture collections because of the level of craftsmanship to cut and form is so high. And so, that's what men's most influential designer proffered for SS19: tailored clothes with a hint of rebellion via fond memories.

Luca Lemaire strikes a pose in Raf Simons' Blade Runner inspired Spring/Summer 2018 collection and campaign, shot by Willy Vanderperre and styled by Olivier Rizzo.

There was a Flemish bacchanal on display at Raf Simons' FW18 showspace: a myriad of empty wine and champagne bottles littered the floor while a feast of fruits, vegetables and bread were accompanied with lush floral arrangements. The sense of opulence belied the serious nature of Simons' inspiration: Christiane F. and her story of falling in love with drugs and a drug dealer. It's no surprise that Simons' namesake collection then offered clothes with words like "DRUGS", "XTC" and "LSD" but he wasn't promoting it, instead, coupled with the excesses on display from the showspace, he offered a cautionary tale on drug use. The timing of this narrative could be in reaction to the Opioid crisis gripping large swathes of the United States. How did this translate into the clothes? There were chunky combat boots, latex gloves and slouchy coats that gave a clinical vibe while stitched together knits added a surreal element to the collection. In all, the narrative was far stronger than the clothes which, out of context, seems to be celebrating and promoting drug use. It must also be stated that a portion of the sales of this FW18 collection will go towards organizations that help treat addiction while the food on display will be donated to City Harvest, a nonprofit organization that feeds hungry New Yorkers.

It was an East-meets-West, new-meets-old kind of evening at Raf Simons' second outing in New York. It was staged under the Manhattan Bridge in Chinatown with strong whiffs of fresh fish and one of its chief inspirations: Blade Runner. There were also healthy doses from Raf's archive, mostly seen on the musically inclined shirts while models, called replicants - a term in the movie/book that referred to androids - strolled down the wet makeshift runway carrying umbrellas, some with Chinese lanterns affixed to them. In the end, though the collection felt directional, it didn't seem to have the emotional impact that one expects from Simons.

Belgian designer Raf Simons is a New Yorker now. Since taking the top job at Calvin Klein, he has lived in New York and has opted to show his eponymous collection here as well. In the few months since the announcement and his jaunt across the Atlantic, much has happened in America and there were hints of rebellion and solidarity in a protests that have occurred these past few weeks, see the "Any Way Out This" tees. Ultimately, his debut collection was a love letter to New York: a collection that saw a melting pot of old and new, rich and poor, the haves and the have-mores, and the hard and the soft. All these elements played well on the oversized coats, cinched at the waist by tape while opulent necklaces softened and feminized the looks which felt decidedly more grown up, even in a rakish and punk-y way.

Raf Simons' Spring/Summer 2017 show traveled to Florence to showcase a grown up collection that was filled with sexual references, complemented by the work of others. Unlike other designers, Simons is giving in his praise and acknowledgement of influence. Here, he was influenced by famed photographer Robert Mapplethorpe, whose photographs were printed onto the clothes. Mapplethorpe's homoerotic photographs of his subjects, sometimes nude, sometimes not, were seen on shirts, bags and everything in between. There was even a shirt with a photo of an erect penis. The resulting collection was quite striking and was filled with sexual references and subversion, take the leather hats, belts worn around the neck like a leash and the unbuttoned knits revealing bare skin or an image from the Mapplethorpe's archives.

The American references, like business shirts (oversized, disheveled like after a quick romp, hanging off the models), could be a sign of where Simons' mind is in. Particularly one American city: New York City. Rumor has it that Simons is soon to take up the creative directorship at Calvin Klein in August (after his non-compete with LVMH ends in July), overseeing both men's and women's. Mapplethorpe is one of New York's most famous sons and this collection could be signaling the big shift for Simons and his eponymous label. Regardless of his next move, Simons seems to be moving his collection forward in a more mature, sex-infused direction. Perfect for the house that Calvin built.

Raf Simons takes us back to school, or at least that's what his collegiate themed collection aimed to do. Oversized college sweaters, ripped, tattered and otherwise distressed, proliferated the collection and gave the idea that these young models were dressing up in their father's old college gear. Other than the aforementioned designs, the collection was considerably more wearable and commercial than Simons' last few. There was a lightness to this collection and that could be due to his lighter work load, no longer having to shuffle back and forth from Antwerp where his eponymous label is based and Paris, where Dior is. After all that time spent traveling and designing over ten collections a year, Simons can finally take some time and relax and reminisce, maybe about his university days where he studied architecture and how he got to where he is: as a purveyor of men's fashion and a (former) couturier.

Deconstructed tailoring was the focus of Raf Simons' FW15 collection and those sublime coats are front and center in the Belgian designer's latest campaign starring Artur Chruszcz, Jonas Boons, Luca Lemaire and Niels Trispel, all shot once again by Willy Vanderperre and styled by Olivier Rizzo.

Hooded models raced down the elevated runway at Raf Simons' striking Spring/Summer 2016 show today. What followed was a visually stunning collection loosely inspired by Mark Leckey's short film, Fiorucci Made Me Hardcore. Oversized pants were juxtaposed with tight and shrunken vests, exposing many a model's taut stomach and hip bone. There were cut outs and rivets on knits and coats made into geometric shapes like diamonds or one that resembled molecule. Meanwhile, bag handles were made from oversized chains but seemed light enough to throw over a shoulder. Everything in the collection was slightly askew, from those oversized pants that puddled on the floor to the almost lace-like pattern on knits to the half-shirt hoods; amongst the peculiarity of it all, including the blaring techno soundtrack, Simons' vision shined through those little cut out sweaters and the results are most definitely eye catching.

See the full collection here.

White lab coats were littered with scribbles at Raf Simons' FW15 runway show and it set the tone for the collection - taking something pure and clinical and creating something chaotic. A raised runway allowed for easy viewing of the graphic collection of elongated vests, wide lapeled coats, and a plethora of sleeveless outerwear. This was a strikingly hard showing from Simons, whose softness is one of the main reasons for his success at Dior. Here, there were slicked up boys with attitudes, wearing slashed coats, raw edges, and plasticized outerwear. The rebellious tone of the collection harkened Simons' earlier work: cerebral and angsty. It may signal that Simons is tired of all the military-inspired tailoring and suit-and-tie trend that has been ubiquitous this season. If one designer can shift the dynamics of men's fashion, it is this Belgian designer for whom many, if not all, look to.

When menswear designer Raf Simons announced that he would collaborate with lauded artist Sterling Ruby for the FW14 collection, the fashion world reacted with curious anticipation. When the duo debuted the art-cum-fashion collection 6 months ago, the collection was a hit. Now the duo has tapped Simons' constant collaborators Willy Vanderperre and Olivier Rizzo to shoot and style Luca Lemaire for the collection's campaign, featuring the limited edition coats and tailored pieces that the fashion cognoscenti raved over.

See the full collection here.

How can Belgian designer Raf Simons outdo his much lauded Fall/Winter 2014 collection with Sterling Ruby? It seemed highly unlikely that he could create something as inspiring or interesting but he did just that. As the first model came paraded down the concrete runway in an all-black outfit (an overcoat, tank slim fit trousers) it seemed Simons was back to his old, pared back style. It wasn't until the model turned around that the audience, who were all standing, saw the first hints of what this collection was all about.

Without seeming self involved, Simons made the collection all about himself . He injected his personal life and career, as well as the lives of his loved ones throughout the collection via old photos and references to milestones. It all started with a photo of his parents on a date, prior to his birth. Then there was a photo of a long-haired Raf on an elongated shirt with his initials on the breast. Simons, who is naturally reserved, opened up about his life and career for the world to see without uttering a word. There was Japanese iconography to pay homage to the first retailers who carried his line to his personal love of horror movies (see the appliquéd sharks) and there were astronauts in space to convey the isolation he sometimes feels. To say it was an emotional ride is an understatement.

As for the clothes themselves, they were spectacular in their tailoring and details. Slim fit trousers bucked the multi-season trend of roomy, if not voluminous, pants while well cut coats, jackets and suits offered a special design aspect: horizontal buttons, instead of the typical vertical type. Small details like the ribbing on a coat or the laser cut of a tank top layered over another tank made the collection a sight to behold. The question now is, how can he top this?