Simons' "Summa Cum Laude" collection served up collegiate style looks true to its namesake. The inspiration behind the clothing came from unlikely sources: MENSA students and the gabber club scene, a youth movement from Holland and Belgium. The infamous Pyramid Bomber from this collection used the logo from gabber DJ conglomerate Rotterdam Terror Corps, which were infamous for their raves throughout the '90s. S/S 00 really showed off Simons' ability to distill far-flung, somewhat esoteric influences into his signature style of elevated streetwear.

A/W 01 is the epitome of industrial, grungy and atmospheric. Inspired both in spirit and appearance by the Welsh rock band Manic Street Preachers, the show was fittingly presented in an abandoned warehouse. Through the artificially generated fog, the collection showcased models that were seemingly dressed for an actual riot instead of a runway show. The pieces from the collection are decidedly streetwear, consisting of hoodies, bombers and trench coats. Perhaps the most iconic grail to come out of this collection is the camo MA-1 which is adorned with photos of missing Manic Street Preachers lyricist and guitarist Richard James "Richey" Edwards. The piece has been seen on the likes of Rihanna and Kanye West and is one of the most sought after items for any serious Raf collector.

"Fear Generation" remains one of his Simons' most memorable and impactful works and for good reason. The collection is a perfect example of how subversion became a keystone of Simons' design, perfectly capturing the big picture feeling of social unrest and channeling it into the collection's mood and styling.

S/S 02's looks are largely monochromatic ones consisting of red, white and black. This gives the collection a "uniform" feeling with many of the models' faces obscured by headscarves. Graphics and typography embellish key pieces, including a crewneck screen-printed with the slogan “We Are Ready and Willing to Ignite, Just Born Too Late.” The slogan taps into the energy of youth culture and its willingness to protest the status quo. Most notably, the collection was designed and shown months before the tragic and unfortunate events of 9/11 that would shape modern geopolitics for years to come and, just like that tragic moment, the clothes remain thematically and aesthetically relevant well over a decade later.

Simons' "Virginia Creeper" collection is inspired by our relationship with nature. The collection’s imagery is iconic and instantly recognizable with a tree-lined forest providing the backdrop. The pieces themselves are loose and languid, and much of the outerwear is deliberately oversized.

A/W 02 also makes a point of mixing natural materials with industrial fabrics, including fake leather, nylon and even the type of plastic usually reserved for garbage bags. Perhaps the most sought after piece from "Virginia Creeper" is the infamous "Nebraska" sweatshirt, collegiate-style crewnecks featuring a washed and hand-distressed look that are increasingly difficult to track down.

While the title of S/S 03 is meant to be a meditation on modern consumerism, the collection is equal parts militarism and fetishism with its mix of everything from black mesh to patent leather, while the graphic tees and spray paint from the presentation give it a decidedly street feeling. In retrospect, "Consumed" was wildly prophetic considering the going rate today for the white, all-over print bomber is well over $5000, while the parachute bomber has been seen for sale as high as $10,000.

Music has always been a common thread throughout Simons’ creative output and A/W 03 collection honed in on his love of the New Wave genre. For the collection, Simons worked with revered graphic designer and friend Peter Saville. With unlimited access to the Saville archive, he presented a collection that paid homage to the sonic legacies of famed Factory Records acts Joy Division, New Order and Orchestral Manoeuvres in the Dark.

Pieces in the collection liberally borrowed from Saville’s graphic archive with the most sought-after variation being the iconic fishtail parkas with hand-stitched artwork and hand-painted graphics and phrases. Simons and Saville maintain a close working relationship today evidenced by Simons asking Saville to create a new logo for Calvin Klein that was just recently unveiled.

"History of My World" represented a bit of a pivot from the streetwear-oriented collections that Simons had presented previously with a focus on tailoring much like the very beginning of his career as a designer. With that in mind, Simons presented a slew of looks that reinvented the traditional men’s silhouette, ushering in a new tailored look that focused on baggier trousers, cropped jackets and tight, jacquard knits. The collection was somber in tone, militaristic and had a futurist edge that would re-emerge in his later collections.

In terms of iconic pieces, the "Poltergeist" capsule immediately jumps to mind. The items were not featured on the runway, but included crewneck sweaters and fishtail parkas with the now-familiar graphic patchwork treatment. The images themselves were inspired and derived from the iconic 1982 movie of the same name directed by Tobe Hooper and the 1979 French horror film Fascination.

A/W 06 brought with it razor sharp tailoring and a somber gray, black and navy palette. Amazing knits were heavily featured as well as memorable pieces that incorporated futuristic aesthetics and zippered details. Standout grails including the accordion-necked zipper coats and sculptured, down-filled items. Famously, as reported by legendary fashion critic Tim Blanks, Simons was heard backstage yelling, "I really wanted to show fashion!"

S/S 08 found inspiration in an unlikely place: the uniform of backpackers. For Simons, the backpackers that traveled the world in sandals and hiking were the true antithesis of the digital-first culture of the day's youth.

The collection defied convention in many ways: T-shirts were oversized, the backpacks done in collaboration with Eastpak were massive and the now iconic footwear was architectural in design, referencing the early 1900s De Stijl art movement and the Dutch painter Piet Mondrian. The season featured some of the most colorful pieces Raf has done to date with much of the outerwear coming in tech-y, nylon fabrics and bright, primary colors.

After a bit of a career lull, depending on who you ask, A/W 14 collection was a return to form for Simons. After several years at the helm of Dior, the collection represented a shift in focus back towards his eponymous label. Notably, the collection was the true collaborative result of Simons and longtime friend and artist Sterling Ruby.

Raf described the collection as a full-on collaboration 9 years in the making. Unlike many designer collaborations today, it went deeper than just re-purposing artwork or offering a superficial, co-branded aesthetic. Simons described the creative process as an ongoing dialog:

“We started by talking about technical requirements and different fabrics. Sterling experimented with fabrics by hand-painting and bleaching them, as handwork takes a special place within this collection. We want people to feel the hand of the creator in each piece. I did not want the brand to have any limitations.”

The hard work showed off as the collection challenged what Simons had been known for and incorporated Ruby’s style of art seamlessly. Despite being only three years old, many pieces from this season, like the hand-painted jackets have already become must-haves despite their relative newness in terms of Simons' archive.