Johnny Talbot and Adrian Runhof prefer to let their clothes speak for themselves. That makes it all the more special when one of the designers speaks for himself. In Munich, where it all began for the Talbot Runhof label, Adrian Runhof is sitting in front of his laptop today – we've arranged a video call with him because there's a lot to discuss.

In 2006, exactly 20 years ago, he and Johnny Talbot set off from the Bavarian capital to Paris to present their label's collection for the first time on the world's most important fashion stage – ultimately, a total of 25 shows would be presented by Talbot Runhof during Paris Fashion Week until 2019. Now, the exhibition CELEBRATING FASHION - Talbot Runhof in Paris at the Augsburg Textile and Industry Museum (tim) offers a glimpse into this period – and simultaneously into the future of the label.

Known primarily for their dreamy occasion wear – extraordinary dresses for extraordinary moments, most recently seen on Princess Kate at a London gala or on rapper Zah1de at the Cannes Film Festival – Johnny Talbot and Adrian Runhof never lose sight of reality and don't shy away from political statements. Adrian Runhof explained to us how this all fits together.

Adrian, the State Textile and Industry Museum in Augsburg has been showing your retrospective since April. How did the exhibition come about?

When tim first contacted us, our brand had been around for exactly 25 years, and we had held exactly 25 fashion shows in Paris. We thought these were fantastic milestones, ones we had not only worked hard for but also something to celebrate. Over the years, we had amassed a very large archive of more than 1,500 pieces, and we weren't yet sure what to do with them. This led to the conversation with the museum team.

And what happened next, once you finally entered the process of developing the exhibition?

We initially donated part of our archive to the museum, and a significant portion of the exhibition resulted from this donation. Together with the museum, we selected three to five looks from each fashion show and curated the outfits that are now on display.

What was particularly important to you in this selection?

We were interested in the new perspective – what common thread someone might identify when looking at our collections from the outside. We were looking for this unbiased view from the museum team. It's a perspective we can no longer adopt because we always view our brand through the Talbot-Runhof lens.

And did you actually discover anything about your fashion during this collaboration that you hadn't seen before?

Generally, in our studio we often work with lookbooks from previous collections because there are definitely elements we keep revisiting – and yet there are still dresses we'd completely forgotten about. Our repertoire is like a large wine cellar: sometimes we know exactly which red wine we'll bring out today, but way in the back there are also a few forgotten bottles that we stumble across at just the right moment. So it was very interesting to rediscover some ideas from the past through the collaboration with the museum and to revisit and develop them further.

What was one of these ideas that you have now rediscovered?

A dress from our Spring 2009 show, which we presented at the time in the premises of the French materials supplier Weber Métaux—that is, in a cluttered metal workshop with screws and nails everywhere—consists of a long length of fabric that we shaped solely through draping at the collar. We have revisited this technique for our current collaboration with the Spanish artist David Magán. In doing so, we asked ourselves how we could translate his artistic practice—a play with glass, light, and the layering of different colored, transparent materials—into a textile language. The result is a dress created using this very technique, consisting of 18 meters of fabric and several layers of tulle. Both are on display in the exhibition, thus completing a circle: one of our earliest dresses meets our latest creation.

And did you also come across any designs in your own archive during your research that you can no longer use today?

Of course, there are some designs we would never do again. Interestingly, the museum team also selected pieces like these. That showed us: fashion really is a matter of taste.

How has your fashion changed in general over the past 20 years?

Today, wearability is much more central to our designs. What was frowned upon in Paris during the years we showed there—fashion was supposed to be wearable at the very last thing—has now become a crucial factor for us. However, we don't achieve this wearability at the expense of quality, but rather through our creativity, which ultimately makes our collections even more interesting.

You are primarily known for occasion wear, not least for your stunning evening gowns. Does the exhibition also invite visitors to dream?

The exhibition has a strong curatorial focus on the cultural aspect of celebration. The museum's director, Dr. Karl Borromäus Murr, summarized this with a quote from the philosopher Odo Marquard: “The festival is a moratorium on everyday life.” Opulence and abundance, central to the exhibition, are also manifested in the clothing on display. The exhibition beautifully demonstrates that one can—and should—do quite well without the demands for functionality that are otherwise so important in Germany.

In times of multiple crises, is it even possible to celebrate exuberantly anymore?

It's actually important! Even though we and many other people are very aware of the times we live in, there's still a prevailing "now more than ever" attitude, or perhaps precisely because of it. We're noticing this with our customers as well.

Do designers, therefore, take on a different, special role in such times?

Our stance has always been: if you have a platform, you should use it – and the Paris catwalk is a huge platform. When political events concern us, we can't help but address them in our collections. This was the case, for example, in 2014 when we worked with a Putin caricature, or in 2017 with our “LIE TO ME” shirts after Trump was first elected US president. In retrospect, it's clear that many of these issues remain relevant today. That's precisely where I see the role of fashion designers: they are prophets and ambassadors who recognize trends and can contribute to steering the world in a better direction. We all bear a great responsibility.

How can one strike a balance between making sharp political comments and still developing something that is fun and arouses desire?

We simply can't help but design our pieces beautifully, even when we're working on very serious topics. The Putin tops were highly decorative, elaborately embroidered with sequins and embellished with Swarovski crystals—simply gorgeous. We don't let anything compromise our design standards, even in such moments—quite the opposite.

And how are such collections, which have a political slant, received?

We received both praise and death threats for the Putin caricature; in some cases, Russian media even misinterpreted it as a tribute to Putin. This happens quickly when viewers don't look beyond the surface. That's also what's interesting about fashion: for many, it's only about appearances, the initial spark that's quickly forgotten. We want to encourage reflection. Our aim isn't to polarize, but to engage in constructive dialogue.

Are associations of creative people becoming more important today, such as the Fashion Council Germany, in order to find a common voice and convey values?

Absolutely. When we came to Paris in 2006, we really missed something like this: Back then, designers from Germany – unlike those from other countries – had no lobby in Paris, not even remotely. The idea of community came much later.

The Fashion Council Germany, before it was founded in 2015, was dearly missed.

Gallery photos 1-10: Bernhard Rampf; 11: tim; 12: Lauren Leis.