Then & Now: Iconic Moments From CR Runway

Carine Roitfeld’s inaugural runway show showcased the best of the Fall/Winter 2019 collections. And when modeled by some of the most famous faces in the world—both past and present—made up by a renowned makeup artist and hair stylist, to the beat of throwback hits by fashion’s leading sound director, and choreographed by one of the talented dancers in the industry, the culmination of so many great talents inevitably led to a truly mind-blowing experience.

But as much as it was about next season, Roitfeld harnessed the power of nostalgia to make the entire affair infinitely more memorable: She plucked a trio of standout looks from the archives of Gianfranco Ferré (courtesy of Archivi Fondazione Gianfranco Ferré), the House of Christian Lacroix, Karl Lagerfeld Collection (Privée de Marie-Laure Delaunay), and Helmut Lang (courtesy of David Casavant Archive), weaving them throughout the 100-plus-look lineup.

In a meaningful gesture that wasn’t lost on anyone, she selected archival Karl Lagerfeld pieces to open the show. “He was my big protector for so many years—there is not one day I don’t think about him because he’s taught me so much,” Roitfeld has said about her relationship with the late designer. “He was such a visionary.”

She tapped Gigi Hadid (who wore a starched collar and tie—Lagerfeld’s sartorial identifier—with a button-down vest and black skintight patent pants), Vittoria Ceretti (in an oversized blazer with contrasting lapels and a micro mini), and Mariacarla Boscono (in a sharp double-breasted blazer with outlined piping, complete with a textured skirt) to bring the late designer’s pieces to life once more.

Next came Helmut Lang—make that, Helmut Lang at its peak. Charged with shaping the fashion landscape in the ‘80s and ‘90s, the minimalist designer blended utilitarianism with streetwear in such a way that his brand became so revered, Instagram accounts are dedicated to its glory years. Iconic pieces like the Velcro bulletproof vest from the Spring/Summer 1998 collection (which is said to have inspired Kanye West’s Yeezy Season 1) or the reverse cowboy tee from 2004, which earned a re-release in the Spring 2018 “Re-Edition” series under the direction of Shayne Oliver and Isabella Burley, were resurrected for CR Runway, worn by Guinevere Van Seenus and Alek Wek respectively. And finally, Kirsten Owen modeled a limited-edition Helmut Lang tee from 1999, complete with cutout denim.

The now-shuttered house of Gianfranco Ferré was a formidable force in fashion from the time when Ferré launched his namesake line in 1974 until his death in 2007. Lovingly called the “architect of fashion,” the architect-turned-designer built an empire based on his unwavering commitment to couture-level craftsmanship done at a ready-to-wear level, which often ran between stark minimalism and unapologetic maximalism. And both were exemplified at CR Runway with three looks worn by He Cong, Meghan Roche, and Birgit Kos: white shirts (the designer’s trademark) styled with both a pair of sleek pants and sweeping ballroom skirts.

But it was the Mugler moment that went down as the highlight of the evening. As much as Thierry Mugler was about his impeccable, unforgiving tailoring, he was also partial to drama (he was, after all, the mastermind behind the “Birth of Venus”-inspired creation from his Fall/Winter 1995 Haute Couture collection). For CR Runway, Joan Smalls and Irina Shayk had the honor of wearing looks from the Mugler Fall/Winter 1998 collection called “Lingerie,” which as the name suggests, were provocative without being overtly so—glimpses of a sheer bodysuit, sheer thigh-high stockings, a bustier, and a garter belt were seen underneath their sharp skirt sets.

And then there was Bella Hadid sandwiched between the two, in a look from Mugler’s Fall/Winter 1995 Haute Couture collection called “Le Cirque” in celebration of the brand’s 20th anniversary, which became one of the most memorable shows of the decade (Mugler had his models dressed as robots, outfitting one in particular in a silver cyborg suit that many found alarming). By contrast, Hadid’s look felt decidedly demure—even in spite of the latex bodysuit layered underneath her sculptural dress.

For the finale, the audience was rendered silent at the incredible sight before them: three incredibly ornate, one-of-a-kind Christian Lacroix bridal couture creations floating down the runway. The first, worn by Polina Po, was an all-red masterpiece from Fall/Winter 2002, featuring exquisite embroidered and pink tulle accents. Doutzen Kroes soon followed in a floral caped Fall/Winter 2007 design, complete with a gilded headpiece and a light pink veil. And for the kicker: Natasha Poly emerged as the bride in a breathtaking Fall/Winter 2009 satin dress decorated with floral appliques, layers of tulle at the sleeves, and gold embroidery, which matched the stunning metallic-flecked lace headpiece.

“It’s funny because I’ve done Christian Lacroix shows many times in my career, but I’ve never been a bride—it’s always a big deal to be a bride in a Lacroix show—but finally, I get to be the Christian Lacroix bride,” Poly enthuses to CR backstage prior to the show. “I feel like I’m floating.”