- Following 563
- Followers 101.3K
- Engagement 0.83%
- Avg likes 807
- Avg comments 3
About THE UNTITLED RAF SIMONS PROJECT
THE UNTITLED RAF SIMONS PROJECT (@firsttimesworldwide) is a Vintage Store creator on Instagram, also filed under eCommerce/DTC. The account has 101,269 followers and 5,974 published posts. Recent posts average 807 likes and 3 comments, an engagement rate of 0.83%.
An audience of 101.3K puts THE UNTITLED RAF SIMONS PROJECT in the mid-tier, between 100,000 and 1 million followers. Set against 563 accounts followed, the audience works out to about 180 followers per account THE UNTITLED RAF SIMONS PROJECT follows. THE UNTITLED RAF SIMONS PROJECT uses an Instagram professional account. Flinque files THE UNTITLED RAF SIMONS PROJECT under Vintage Store, with eCommerce/DTC as a secondary category.
The Instagram bio for THE UNTITLED RAF SIMONS PROJECT runs to 15 words across 4 lines. Emoji sit alongside the words. The latest activity Flinque has on record for THE UNTITLED RAF SIMONS PROJECT dates from August 2025.
Story Highlights
Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.
5,974 Posts
All 10 recent posts Flinque holds for THE UNTITLED RAF SIMONS PROJECT are carousels. With 5,974 posts published, THE UNTITLED RAF SIMONS PROJECT's archive runs well past the 2,000 mark. Against the audience, that is roughly 17 followers for each post published. THE UNTITLED RAF SIMONS PROJECT also keeps 41 story highlights on the profile. All 10 carry captions, averaging 125 words each. The captions are written mainly in English. Words that recur across them include fashion, archivefashion, collection, margiela and conceptual. The captions tag #archivefashion, #fashion, #rafsimons, #margiela and #commedesgarcons.
Number (N)ine’s Fall/Winter 2004 collection Give Peace a Chance, designed by Takahiro Miyashita, stands as one of the brand’s most overtly political and culturally resonant runway statements. Presented as the label’s first Paris show, the collection took its title from Give Peace a Chance and directly channeled anti-war sentiment amid the global tensions of the early 2000s, particularly the Iraq War. Miyashita fused punk and grunge attitudes with military references, using distressed tailoring, patchwork denim, and layered silhouettes as a backdrop for explicit slogans such as “Give Peace a Chance,” “Imagine,” and “Power to the People.” Tribal-inspired camouflage, heart-camo patterns, and raw finishes reinforced the tension between militant imagery and pacifist messaging, while controversial graphic pieces—some Japan-exclusive—pushed the collection into provocative territory. The show crystallized Miyashita’s ability to merge music, protest culture, and emotionally charged design, marking Give Peace a Chance as a defining moment in Number (N)ine’s evolution from cult Japanese label to internationally recognized voice in conceptual menswear.
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#numbernine #archivefashion #fashion #commedesgarcons #rafsimons
Spring 2000 is textbook Raf Simons. Across 66 looks, the defining characteristics of his aesthetic come into view: Slim, graphic vest tops; bubble-curved MA-1 bombers; and a jewel-box sense of color. Two decades later, each piece could fit right in among his current work-including at Prada.
Graphics within the collection are sparse, with Camp Crystal Lake from the Friday the 13th film on tees and a pyramidal shape on the backs of bomber jackets.
Summa Cum Laude, the collection’s title, is also printed sparingly on tanks and tees,
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#rafsimons #archivefashion #fashion #margiela #rickowens
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#viviennewestwood #fashion #archivefashion #vintagefashion #sexpistols
Undercover’s Fall/Winter 2002 collection Witches Cell Division, designed by Jun Takahashi, marked a pivotal moment for the brand as the final Undercover runway show staged in Tokyo before its historic Paris debut with SCAB the following season. Presented at Yebisu Garden Hall in March 2002, the show crystallized Takahashi’s early-2000s vision by fusing occult and witchcraft imagery with references to Japanese mecha culture and ideas of biological “cell division,” suggesting garments that could fragment, recombine, or exist in states of duality. The collection balanced darkness and playfulness through bold graphic language—cross motifs, religiously charged text, and cartoon-like robotic imagery—set against streetwear silhouettes, bombers, knits, denim, and layered hybrid pieces. This tension between sacred and profane, chaos and structure, street culture and conceptual fashion defined the show’s atmosphere and reinforced Undercover’s reputation for narrative-driven collections rooted in subculture and rebellion. In retrospect, Witches Cell Division stands as a culmination of Takahashi’s Tokyo era: raw, subversive, and deeply referential, while foreshadowing the intellectual ambition and global recognition that would soon follow Undercover on the Paris stage.
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#juntakahashi #archivefashion #fashion #commedesgarçons #japanesefashion
Maison Martin Margiela’s Spring/Summer 2007 menswear collection unfolded as a quietly evocative meditation on 1970s San Francisco counterculture, filtered through the house’s signature lens of reconstruction, nostalgia, and intellectual restraint. Drawing on the visual language of late Beat and bohemian Americana, the collection blended graphic T-shirts printed with Golden Gate sunsets, patchworked trousers, and relaxed tailoring with Margiela’s ongoing Replica ethos, reworking vintage garments into contemporary propositions rather than seasonal novelties. The video documentation reinforced this mood, presenting the clothes with an unforced, almost observational calm that emphasized wearability over spectacle, allowing details—electric-blue leather pieces, washable cotton tuxedo jackets, slogan-marked sneakers, and modular vintage jackets with zip-off elements—to surface gradually. Unlike the more austere or confrontational Margiela shows of earlier years, SS07 felt deliberately lighter and more human, balancing conceptual rigor with ease and color while still questioning authorship, memory, and originality. The result was a collection that quietly expanded Margiela’s menswear vocabulary, demonstrating how historical reference and everyday functionality could coexist without diluting the house’s radical identity.
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#margiela #margielaarchives #archivefashion #fashion #rafsimons
Jun Takahashi’s Undercover Fall/Winter 2006 show marked a decisive moment in the label’s evolution toward a more theatrical and conceptually rigorous mode of expression, balancing provocation with genuine wearability. Presented in Paris, the runway was immediately striking for its unsettling visual language: models appeared with pierced, studded, and chain-laden head coverings that obscured their faces, evoking medieval armor, restraint devices, or ritual masks, and introducing a mood of menace, anonymity, and psychological tension. Against this severe presentation, the clothing itself revealed Takahashi’s growing sophistication as a designer. The collection moved fluidly between delicate and protective elements—silk camisoles with cascading ruffles, asymmetric chiffon shirts, and tailored camel jackets with ornamental frogging were layered alongside cocoon-like outerwear, convertible stoles, and garments engineered to transform or conceal. This interplay between softness and armor suggested a narrative of vulnerability versus defense, a recurring Undercover theme rendered here with unusual clarity. While the show’s styling leaned toward confrontation, the underlying craftsmanship and material richness—later affirmed by museum acquisitions—demonstrated Takahashi’s commitment to construction and detail. Fall/Winter 2006 ultimately functioned as both a performance and a wardrobe, reinforcing Undercover’s identity as a house where beauty is inseparable from unease, and where clothing operates not just as fashion, but as a medium for psychological and conceptual storytelling.
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#juntakahashi #japanesefashion #archivefashion #fashion #commedesgarcons
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#commedesgarçons #reikawakubo #archivefashion #fashion #yohjiyamamoto
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#anndemeulemeester #fashion #archivefashion #margiela #rafsimons
Maison Martin Margiela’s Spring/Summer 1993 ready-to-wear show marked a striking moment in the house’s early history, blending the brand’s signature deconstructive ethos with a surprising dose of romantic minimalism. Presented in Paris during fashion week, the collection juxtaposed restrained, pared-down silhouettes with Victorian-inflected touches—from petticoat-style skirts and galloon-trimmed jackets to discreet natural accents like sprigs of greenery adorning models including Cecilia Chancellor, Emma Balfour, and a young Kate Moss. Margiela’s work in this season embodied his conceptual approach to fashion: subtle yet subversive, where simplicity met historical reference without sacrificing intellectual rigor. The designer also played with presentation, famously staging two simultaneous shows at opposite ends of the Montmartre Cemetery—one black, one white—forcing guests to confront the choice of experience itself and reinforcing Margiela’s penchant for challenging runway conventions.
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#fashion #artisanalfashion #rafsimons #margiela #archivefashion
Link in bio
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#virgilabloh #offwhite #yeezy #margiela #margielaarchives
THE UNTITLED RAF SIMONS PROJECT's engagement
THE UNTITLED RAF SIMONS PROJECT's engagement rate on Instagram is 0.83%, under 1%, fewer than 1 like or comment per 100 followers. On a typical post that comes to about 1 like or comment for every 120 followers. Likes outnumber comments by roughly 269 to 1, with 807 likes and 3 comments on an average post, so most reactions are taps rather than replies.
Engagement rate
0.83%
- Avg likes
- 807
- Avg comments
- 3
- Interactions : followers
- 1 : 120
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Frequently asked questions
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Who is THE UNTITLED RAF SIMONS PROJECT?
THE UNTITLED RAF SIMONS PROJECT (@firsttimesworldwide) is a Vintage Store creator on Instagram, also filed under eCommerce/DTC. THE UNTITLED RAF SIMONS PROJECT uses an Instagram professional account. The Instagram bio for THE UNTITLED RAF SIMONS PROJECT runs to 15 words across 4 lines.
How many followers does THE UNTITLED RAF SIMONS PROJECT have?
THE UNTITLED RAF SIMONS PROJECT has 101,269 followers on Instagram (101.3K). Set against 563 accounts followed, the audience works out to about 180 followers per account THE UNTITLED RAF SIMONS PROJECT follows. With 5,974 posts published, THE UNTITLED RAF SIMONS PROJECT's archive runs well past the 2,000 mark.
What is THE UNTITLED RAF SIMONS PROJECT's engagement rate?
THE UNTITLED RAF SIMONS PROJECT's engagement rate on Instagram is 0.83%, under 1%, fewer than 1 like or comment per 100 followers. On a typical post that comes to about 1 like or comment for every 120 followers. Likes outnumber comments by roughly 269 to 1, with 807 likes and 3 comments on an average post, so most reactions are taps rather than replies.
What does THE UNTITLED RAF SIMONS PROJECT post about on Instagram?
Flinque files THE UNTITLED RAF SIMONS PROJECT under Vintage Store, with eCommerce/DTC as a secondary category. All 10 recent posts Flinque holds for THE UNTITLED RAF SIMONS PROJECT are carousels. The 10 recent Instagram captions Flinque holds for THE UNTITLED RAF SIMONS PROJECT repeatedly use the words fashion, archivefashion, collection, margiela and conceptual. THE UNTITLED RAF SIMONS PROJECT's captions carry hashtags such as #archivefashion, #fashion and #rafsimons. THE UNTITLED RAF SIMONS PROJECT writes those captions mainly in English. THE UNTITLED RAF SIMONS PROJECT keeps 41 story highlights, which open with a free Flinque account.
How do I contact THE UNTITLED RAF SIMONS PROJECT for a collaboration?
THE UNTITLED RAF SIMONS PROJECT's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. Brands with a free Flinque account can shortlist THE UNTITLED RAF SIMONS PROJECT and use Flinque's outreach tools wherever a contact route is on file.
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Public profile data sourced from Instagram. Flinque is not affiliated with THE UNTITLED RAF SIMONS PROJECT.