Designer duo Johnny Talbot, Adrian Runhof and I in their Berlin showroom

For 26 years, the Munich fashion label Talbot Runhof stands for classic elegance and feminine eveningwear. When US actress Kristen Stewart appeared years ago in a black Talbot Runhof robe during the Oscars, the designer duo also made the international breakthrough. Not just celebs appreciate the timeless look of Johnny Talbot and Adrian Runhof. It is important to both designers that women of normal proportions also make a good figure in their clothes. I have an appointment with the two Munich residents in Berlin, where they live in a pied-à-terre in the back of their showroom, which opened in 2017 in Berlin-Charlottenburg. However, Meet Me for Tea takes place without Johnny Talbot, who spontaneously assists a client with her bridal gown selection. An interview with Adrian Runhof. Not just about fashion.

Meet me for tea with Adrian Runhof in his Berlin pied-à-terre

MyStylery: It’s cozy here…
Adrian Runhof: The apartment has been completely renovated. The previous occupant died in this room. So firstly we had to get rid of the “bad vibrations”.
MS: I always find it exciting to see who has lived in such an old apartment before.
AR: Me too. In my Hamburg apartment in the Schlüterstraße, at the corner of Johnsallee, lived a Cape Horner once…
MS: A sailor?
AR: Exactly, one who sailed around the Cape Horn. I happened to meet my neighbor on the street in the middle of the night, when he told me en passant that the captain had died in my apartment. From then on, I could not be in the apartment any more, imagined a one-eyed person with a wooden leg, saw him ghosting around in my apartment at night. Suddenly, I also realized that something was always creaking in the apartment. That was scary.
MS: Seems like the childish fantasies appeared then. Do you like to think back to your childhood?
AR: No, not really. Although, of course, I am grateful to have been born and raised in this country.

“Generally I do not like to think about the past. I’m a forward-looking person who lives in the here and now.”

MS: How did you experience your childhood?
AR: As a kid, I felt locked up. My parents’ house was not the environment, in which a child could to grow up happily. It felt more like a bourgeois museum where nothing was allowed to break. My parents were always worried about us, they were afraid of kidnapping. We lived in a huge Art Nouveau villa, from whose windows I could watch the other children playing in the street. I was not allowed to play, because we always had to stay on our property, on which there was a large garden with a swing, slide and sandpit. The other children were not allowed to come to us either. My siblings and I always played in threes.
MS: Hmmm…
AR: Do you feel sorry for me?
MS: Yes. Your parents probably had their reasons. But for you children that must have been difficult to understand.
AR: That’s true.

Adrian Runhof thoughtful during the Meet Me for Tea interview

MS: You come from a wealthy home. Did you want to prove anything to your parents by doing your own thing?
AR: That was not the point. It was important to me to never depend on my parents. They made it clear from the beginning that I would not get anything anyway. While other children from the well-heeled circle of friends of my parents were overridden real estates. The fact that I later actually inherited something was a big surprise.
MS: And how did you free yourself from the childhood trauma of being locked up?
AR: I went to Munich, that was always my absolute longing. As a teenager I browsed through the Bild Zeitung and Bunte magazin, saw the column of the author Michael Graeter and thought, there can be nothing better than Schwabing. I studied in Munich and met Johnny. That was my lifeline.
MS: And then came Paris.
AR: I already knew Paris from my youth, was street-smart and felt like I belonged there. Actually, I’m someone who likes to be everywhere at the same time. When we were in Amsterdam, I wanted to move there straight away, and I felt the same way with London.

MS: In which Parisian arrondissement do you live?
AR: In the first. We are there every two months. But I also like to be in Berlin and I am glad that we have our little apartment here. We also visit Zurich regularly and commute between the cities.
MS: Living out of the suitcase. That sounds like a certain restlessness…
AR: …that I do not like very much. I like to arrive. But do not like to leave. But this is brought along by the fashion circus (laughs).
MS: And which of your locations do you prefer?
AR: Munich. Munich stands for continuity, nobody moves away, everything is in its place. In Paris, you never know before, whether it was broken in, there was a water damage or a mouse infestation during your absence.

“Berlin is not in the forefront in international fashion business. Although the local street style influences young labels. Berlin is undoubtedly a metropolis in which fashion is created.”

MS: You have been in the fashion business for 26 years. How do you manage to survive in the industry?
AR: It has a lot to do with discipline. We have to design 32 pieces per collection, the show in Paris is coming, there’s a lot of pressure on us. You have to be good at different things at the same time. Creativity, courage, a good product, commercial know-how, contact care are among them. But you also have to recognize your own potential, explore your own limits, always be honest with yourself. We have a good team. As for Johnny and me, we both do everything.
MS: It did not always work out for you. Your cleaning lady had to help you with a cash injection in the beginning.
AR: That was really the case. Since then it has been uphill, though in small steps. We still have to do our calculations today. Thus we are self-financed. We do not have the big investor in the background.

MS: Your strength?
AR: I can hide my dilettance well. I have learned nothing and cannot do anything really well.
MS: Is this supposed to be fishing for compliments?
AR: I can do a lot a little good. I cannot read balances, cannot draw, have no patience, can not express myself creatively.
MS: That sounds a bit desperate. Maybe you put the scale on yourself too high.
AR: No. That’s my self-image. During my studies, I always bought all the books that were recommended to us. With the purchase, however, I also thought that that’s enough. I had not even read a single copy. Nevertheless, I came through somehow.

“Inspirations for the next collection? For example, the embroidered collar of your blouse may be an idea for the next dress. The street, the television, books – one is bombarded with impressions. But you have to filter them.”

MS: You made it fast into the international market. What else can come now?
AR: The industry is very dynamic, new markets in Asia, countries that I do not really care about, but still need to be served. The status quo there and the pure brand orientation isn’t for me. I miss the subversiveness.
MS: Strange that big online shops such as “Net a Porter” or “Mytheresa” do not carry your brand.
AR: Yes, and that offends me. Presumably, it’s because we do not have relevance in the new media. We just do not make printed logo shirts, where you can immediately tell, who they are from.

MS: What do you think of fashion bloggers?
AR: When we had publications in a magazine in the past, there was a measurable demand. On blogs or posts, on the other hand, there are only a few reactions. Then, a Caro Daur must have worn our dress on New Year’s Eve in Dubai. With 70,000 likes, maybe two people will get in touch and ask, where they can buy the dress.
MS: Is the hype about the fashion bloggers maybe a bubble that bursts at some point?
AR: Quite possible. But the budgets of the high-end brands are very high, they do not run out of steam so quickly. It is interesting that in the USA still 70 percent of the advertising budgets flow in print media and only 30 percent online. Here, 90 percent of digital media are consumed and only ten percent in the print sector. We rely on good PR. At the heart of our public relations work is the Defilee in Paris, where not only a great deal of energy, but also a lot of money is invested with the goal of far-reaching media coverage.

“I really like the KPM cup because it’s classic but still modern,” says Adrian Runhof about the KPM Kurland porcelain

MS: What is your own digital user behavior?
AR: Of course, I also spend time on the phone all the time. Recently there was a technical problem. Then the feeling of a slight panic sets in. It’s terrible without a cell phone (laughs).
MS: Are you an online shopper?
AR: Only. I buy every spoon online and nothing in real shops anymore.
MS: The cow you milk should not be slaughtered, they say. After all, you also own stores.
AR: As a customer, I’ve always found stores horrible. How many jeans have I bought in my life, which the sellers claimed, oh, but it fits perfectly. The opposite was the case, as I found out in retrospect (laughs).

MS: Is it difficult to survive alongside the industry giants in Paris?
AR: You cannot make the mistake of comparing yourself to labels or the shows of Louis Vuitton. But it would be stupid to show the best show in Berlin and nobody comes. Whereby the Berlin Salon is a pleasing and important exception.
MS: How do you manage to separate job and private?
AR: Talbot Runhof is our project and that connects at all levels. Even though we now live separately in Munich, we do a lot together. In Berlin, we shop together at the KaDeWe, in Paris, on the market. The German actors Nadja Tiller and Walter Giller were once asked for the recipe for a long partnership: You just have to accept that you cannot change the other one. And there is some truth in it. Johnny stands closest to me, that’s a very special kind of intimacy, and that’s great. We also have a common dog, a Border Terrier, an important and connecting factor.

“When we had 10,000 Euros, we always made sure we did not spend more than 11,000. This is a ubiquitous problem in the industry. Our motto is: It’s all about knowing when to stop.”

MS: And you drink tea…
AR: Absolutely. In the morning we start with ginger tea. Detoxing and staying healthy is important to me. By the way, the KPM cups are great. I was spontaneously happy, when I saw them here earlier and hoped that they would be our latest achievement. The colors match perfectly to the green of our walls (laughs). Of the many dishes I inherited from home, there are very few things that I like. A glass series from the sixties of Theresienthal with a gold rim, for example, that stood in a showcase at my parents’. At ours it is being used. Even at the risk that something breaks. That’s part of it.
MS: You manage to reinvent yourself over and over again. Talbot Runhof features films such as “High Society”, you designed “Fashion 2 Sea” for the MS Europa2 and “Couture feather tops” for the Meiersche Art Institution.
AR: That’s right. Whenever we meet people who we find interesting, we say: Let’s do something together. We do not go out of ideas so fast.  BvH

“The antique cabinet is an heirloom from my mother,” says Adrian Runhof, who was born in Mainz and grew up in Wiesbaden. “In Munich, it does not fit into our living concept. Everything is very modern and more design-like. In Berlin it has now found a good place.”

Contact Adrian Runhof

talbotrunhof.com

The post How about a cup of tea, Adrian Runhof? appeared first on My Stylery.

The arrival of the guests infront of the magnificent Staatsoper in Vienna, where the annual Opera Ball takes place. Photo: Wiener Staatsoper

Who doesn’t dream of it? One time hovering over the parquet of the Vienna Opera Ball in a roaring robe in three-fourths. For me this dream came true this year – including stage table with unobstructed view over opera stage and boxes.

The “proof of legitimation” of the evening: My opera ball ticket and my entry permit

The Vienna Opera Ball is by all accounts a great event that must be thoroughly prepared. Entrance tickets and lodges must be requested and booked in advance (by writing), as well as hotel and arrival. While the gentlemen appear in tailcoats, the question of clothes for the ladies is certainly one of the most central ones. A dress for the opera ball has to be long, an elegant robe, which underlines every own type. It was quite interesting how variable the term elegance was interpreted by the ladies. And please no doppelgangers! The nightmare par excellence, when you suddenly face your dress. I chose a dream robe of dark green velvet from the Munich design duo Talbot Runhof, in which I felt very comfortable.

My look for the Vienna Opera Ball: A décolleté emphasized robe in dark green velvet by Talbot Runhof. A clutch from Bottega Veneta and high heels by Jimmy Choo

The Vienna Opera Ball probably polarizes like no other social event. Degraded to a boulevard event in some places, where guests of all kinds and VIP categories romp about, the Vienna Opera Ball is considered the most elegant tradition of the Donau metropolis. And rightly so. The splendid halls of the state opera that have been opened in 1869 provide a perfect setting, and the opulence of the festively decorated rooms make the “k.u.k.” era lively. What an honor!

Dense crowds around the red carpet, where the arrival of the celebrities was observed and commented

The grande dame of the Opera Ball Elisabeth Gürtler handed the scepter over to her successor, Maria Großbauer, who for the first time was responsible for the overall organization as well as this year’s motto “All Opera”, including the guest list. Among them was the architect Jean Nouvel (Les Galleries Lafayettes Berlin), the head of the IMF (International Monetary Fund) Christine Lagarde, publisher Liz Mohn and billionaires widow Ingrid Flick. But also colorful birds such as building contractor Richard Lugner, who flies in well-known personalities from the USA for a lot of cash – this year’s actress Goldie Hawn. As well as former participants of the RTL jungle camp. It is this special guest mix that makes the evening a dazzling one. To see and to be seen and a bit of gossip.

At the Opera Ball Dinner at the Hotel Sacher: Cheers to a bouncing ball night!

For me the evening started with a champagne reception, followed by an exclusive, delicious five-course meal in the green salon of the Sacher Hotel, where I also stayed. What a luxury, just in terms of the short distances. At 9:30 pm we went to opera house opposite the hotel, where the 5,000 guests of the ball floated on the left and right of the red carpet over the grand staircase (main stairs) that were festively decorated by lush floral arrangements. Passing by flashes of lightning and cameras, the ball visitors spread out on the five floors of the opera house. At 10 pm, the ball was opened in the presence of Austria’s just elected German President Alexander van den Bellen and Federal Chancellor Christian Kern.

Too beautiful: The opening waltz of the debutants

When the 144 debutants arrived, I became a little sentimental. Actually, my oldest daughter was supposed to take part in the opening, but unfortunately she sustained a torn ligament and could therefore not participate in the extensive and elaborate rehearsals of the debut. The young ladies – all in white evening dresses – wore a Swarovski diadem designed by Karl Lagerfeld this year. Each one looked like a princess, simply adorable! The ballet of the state opera enchanted with a performance and the subsequent performance of star-tenor Jonas Kaufmann did not only inspire me. Then it was finally time for the “All Waltz” – left to the left, of course – and the orchestra played until the early morning.

The imposing Grand Hall in the shape of an ellipse with its many boxes and ranks, which extend over five floors

Strolling around is part of the event, even for the guests of a lodge. Because there was program on all levels of the opera house. One could try ones luck in the casino, in the basement disco or take part in one of the popular quadrilles dance in the Great Hall. There were culinary servings from “slow food” to the classic sausage. The cloakroom of the philharmonics converted itself into a wine venue; the legendary Viennese Café Zum Schwarzen Kameel was represented with a branch as well as the best Austrian winemakers with seven wine bars. By happenstance I accidentally got into the staff canteen in the catacombs of the opera at an advanced hour. Opera stars, stage workers and ball guests sat together with liver cheese pies and beer (or a last champagne), and rested their tired feet. At five o’clock the ball of all the balls came to an end. It was already bright outside and the birds began to chirp. What a memorable night! BvH

The Red Carpet is reserved for VIPs at the Vienna Opera Ball. All other guests enter the Opera House on the left and right side

About the 61st Vienna Opera Ball:

An entry ticket for the Vienna Opera Ball 2017 costs 290 euros, a box between 10,000 and 20,500 euros; A table between 400 and 1,200 euros. Tickets for the dress rehearsal cost 25 euros, seating cards between 30 and 60 euros. Drinks and meals are not included in the price.

In the Opera foye, the motto is “seeing and being seen”

How to survive:

1.) Do not appear with an empty stomach, eat something in advance

2.) It is warm in the lodges. Therefore do not forget a hand fan

3.) Before ordering ask for the price of the drinks: The bottle of champagne costs 500 euros

4.) Take flat shoes (eg ballerinas) as a substitute. From 3 o’clock in the morning this isn’t a sin of style

5.) Take the “Libretto” opera ball-book which includes an overview of rooms, music, culinary and service

Among the guests opera diva Anna Netrebko with her husband Yusif Eyvazov

MyStylerys Tipp I:

Even though the loge first appears to be the “best place”, I recommend a stage table. From there all participants have a wide-ranging view, which in comparison a lodge only provides from the front places.

MyStylerys Tipp II:

By the way: If you would like to lodge in one of the 149 rooms in the neighboring Sacher Hotel, you should already request for the 2018 Opera Ball.

Ready to rumble: My hubby and I well prepared

The Green Salon at the Hotel Sacher: Here I enjoyed the Opera Ball menu. And yes, green is my color!

Just a look at the menu …

… and the dessert with chocolate variations

General tension before the entry of the debutants

The Orchestra of the Vienna State Opera

Space with a view: From my stage table I could enjoy a wide-ranging view …

… including the performance of the Corps de Ballet of the Vienna State Opera:

… which was flanked and amazed by the debutants on the right and left of the stage

The Great Hall with its boxes. In the middle, the Emperor’s lodge, in which the Austrian Federal President Alexander van den Bellen and Federal Chancellor Christian Kern were placed

Elegant ball visitors: designer Lena Hoschek (left) in a beautiful, simple self-creation

It’s all about waltz! Whoever looks closely, recognizes me in the middle ;-)))

Various film teams looking for successful and less successful wow outfits, spectacular VIPs and of course some gossip

What an elegant and splendid location for the specially built casino: under the chandelier one could try his luck

Once a princess with a crown: Chanel-Designer Karl Lagerfeld created for Swarovski the beautiful diadem of the debutants with with 394 crystals. Photo by Wiener Staatsoper

…At five in the morning I said bye bye! What a devine night!

Contact Vienna Opera Ball:

wiener-staatsoper.at

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The post It’s all about waltz: The Opera Ball in Vienna appeared first on My Stylery.