The most legendary runway sets in fashion history

A recently released short documentary about Pharrell Williams’ iconic Louis Vuitton Menswear Spring/Summer 2026 show posed the following question for the FACES editorial team: what other runway shows have indelibly etched themselves into the collective fashion memory through their sets over the last 30 years? These are our favorites – from a critique of capitalism to an ode to opera.

When people talk about “snakes and ladders”, many people think of the board game of the same name, which is based on a learning instrument called Moksha Patam that was invented in India in the 13th century. This was used to teach Hindu children the cycle of becoming: Virtues shorten the path to the goal, i.e. salvation (moksha), and vices bring the players down.

Uns kommt dabei jedoch zuerst die Frühling/Sommer 2026 „Snakes & Ladders“-Show von Louis Vuitton in den Sinn. Denn für seine fünfte Season bei dem Label übersetzte Creative Director Pharrell Williams das Konzept jenes Spiels in ein monumentales Runway-Set. Dafür gab das Multitalent ein 2700 Quadratmeter großes Leiterspiel in Auftrag, das während der Show an der Paris Fashion Week Homme 2025 den Boden im Patio des Centre Pompidou zieren würde. Designt wurde dieses vom indischen Architekten und Studio Mumbai Gründer Bijoy Jain.

Wie die Show entstanden ist, erfährst du in dieser neuen Kurzdoku von Louis Vuitton.

Which runway sets have also made history:

Balenciaga Resort (2023)

Money, glam, fetish: under the creative direction of enfant terrible Demna, Balenciaga took over the epicenter of capitalism in May 2023 with the New York Stock Exchange and transformed it into a dystopian stage.

The show took place on a Sunday morning, with the stockbrokers replaced by a high-profile guest list to whom, appropriately enough, thick stacks of fake 100-dollar bills were sent as invitations. Among them were Pharrell Williams, Megan Thee Stallion, Chloe Sevigny, Frank Ocean and the then mayor of New York, Eric Adams. The 63 looks were presented by models in face-covering latex masks, as we know them from the BDSM world. The flickering screens in combination with the dark techno music created a tense atmosphere. An allusion to the impending financial crisis that was being predicted from all sides at the time.

The show was divided into three parts: It started with an upscale wardrobe that focused on 80s-style flared blouses and oversized silk trench coats. These pieces were introduced as a permanent line under the title “Garde-Robe”, which acts as a link between ready-to-wear and haute couture and impresses with high-quality materials such as wool and gabardine. This was followed by classic eveningwear looks such as skin-tight sequin dresses. At the very end, the media favorite, the Adidas collaboration, walked the catwalk. For this, the classic sportswear with the characteristic three stripes was reinterpreted. The iconic Money Bag, known for being opened from the bottom, also won an award.

Valentino Haute Couture Fall/Winter (2022)

Caravaggio-Farben und verspielte Looks: Die traumhafte Valentino Haute Couture Herbst/Winter 2022 Kollektion präsentierte der Modeschöpfer Pierpaolo Piccioli in seiner Heimatstadt Rom. Doch nicht irgendwo in der ewigen Stadt: Piccioli entschied sich für die ikonische Spanische Treppe mit ihren 135 Stufen. Und das nicht zufällig. In einer Welt, die von reaktionären Bewegungen und Menschenrechtsverletzungen geprägt sei, sieht der Italiener Kunst als Protest. „Schönheit ist Widerstandsfähigkeit, nicht Flucht, und Kreativität ist das einzige Mittel, um diktatorischen Entscheidungen entgegenzuwirken“, formulierte Piccioli seine Sicht.

The fact that the company’s headquarters, the Palazzo Gabrielli-Mignanelli, is also located in Piazza di Spagna in the heart of the city certainly played a role in the choice of location. Because that’s where the models’ catwalk took them. The collection was called “The Beginning”, which may seem surprising at first, considering that Piccioli had already been with Valentino for 23 years at the time – but for the artist, haute couture is a constant new beginning.

Piccioli paid a subtle tribute to couturier Valentino Garavani, who died in early 2026. Instead of quoting Garavani’s work directly, he reinterpreted his iconic designs. For example, he revived the first Valentino dress “Fiesta”, which laid the foundation for the famous Valentino red in 1959, in the form of a mini cape made of giant red roses and taffeta.

Anyone who didn’t get goosebumps at the sight of the 102 spectacular silhouettes, presented by models of different proportions and ages, lost their composure at the latest during the concert by British singer Labrinth.

Yves Saint Laurent spring/summer womenswear (2021)

„Wish You Were Here“ heißt ein musikalisches Meisterwerk von Pink Floyd und „I Wish You Were Here“ ist eine Saint‑Laurent‑Kollektion von Kreativdirektor Anthony Vaccarello, die der Schönheit des Songs in nichts nachsteht. Wir wishen, die Klamotten wären in unserem Kleiderschrank.

Sehen lassen kann sich auch die dazugehörige Filmkampagne: Darin stolzieren die Models durch die endlosen Weiten einer Wüstenlandschaft. Denn aufgrund einer Pandemie, die damals ihr Unwesen trieb (ihr erinnert euch vielleicht dunkel), war eine klassische Runway-Präsentation nicht möglich. Die Kollektion spielt mit weichen, leichteren Formen, die sich deutlich von Vaccarellos sonst scharfen, architektonischen Schnitten unterscheiden. So werden weite, fließende Seidenblusen, durchsichtige Tuniken, dünne Reiterhosen und weite Chiffon-Röcke geboten. Gedacht ist die Kollektion als eine „Einladung zum Eskapismus“

Moschino, Resort (2019)

Not our circus, not our monkeys: but we still can’t take our eyes off Jeremy Scott’s circus-inspired show, which he put on stage – or more precisely: in the ring – for the resort collection of Italian luxury brand Moschino. Because the US designer had a huge circus ring set up at the Los Angeles Equestrian Center especially for this fashion extravaganza.

Empfangen wurden die Gäste von Clowns auf Stelzen, verabschiedet von einer atemberaubenden Luftakrobatik-Show der Drag-Ikone und Burlesque-Tänzerin Violet Chachki. Modisch bot Scott Sprechstallmeister-Chic, wie zu erwarten vom als Clown-Prinz der Fashionwelt bekannten Designer: Schuhe mit übergroßen, farbenfrohen Absätzen, runde, bubbleförmige Clutches mit Harlekin- oder Polka-Dot-Design und Animalprint-Everything.

Gucci Spring/Summer (2019)

Shakespeare schrieb bereits, dass die ganze Welt eine Bühne sei. Eine Idee, mit der auch Modeschöpfer Alessandro Michele bei seiner Frühling/Sommer 2019 Show für Gucci spielte. Schauplatz war der legendäre Pariser Club Le Palace, der schon Namen wie Andy Warhol und Yves Saint Laurent auf der Gästeliste hatte.

The iconic location has already had several lives. Before its opening in 1978 (when Grace Jones sang “La vie en rose” by Edith Piaf), the club was initially a theater in the 17th century, which was converted into a cinema in the 1930s.

The collection reflected exactly this history and, between the deliberately costume-like ensembles, also showed outfits that catapulted us back to the late 1970s and early 1980s with broad, wide shoulders and then to the rave times of the 1990s. The moment when the eternal It girl Jane Birkin rose from her seat and performed her hit “Baby Alone in Babylone” was unforgettable. The show was part of a three-season homage to French culture.

Chanel Fall Ready-To-Wear (2014)

Als der Pariser Grand Palais zum Supermarkt wurde: Karl Lagerfeld inszenierte seine Prêt‑à‑porter‑Herbstkollektion 2014 nicht auf einem klassischen Laufsteg, sondern zwischen gigantischen, prall gefüllten Regalreihen. Die Models schritten durch ein 13.000 Quadratmeter großes Labyrinth aus rund 100.000 Alltagsprodukten, während sie ihre von den Goldketten der Chanel-Taschen eingefassten Einkaufskörbe mit „Coco Cookies“, „Signorina Farfalle“ und „Eau de Chanel“ füllten.

After the show, the fashion editors in attendance pounced on the merchandise like hyenas, convincing many that the show was a critique of capitalism on Lagerfeld’s part. This is debatable, but what is known is that the leftover food was donated to charity by Chanel’s in-house caterers.

The core look: oversized tweed coats, often with 80s shoulders and shiny leggings, which were consistently combined with sneakers, some of which were ankle or knee-high. The athleisure elements were mixed with Chanel codes such as bouclé fabric, chains and pearls. Today, the pieces from this collection are difficult to find; one of the iconic candy necklaces was auctioned at Sotheby’s for an estimated CHF 4,812.

Chanel Spring/Summer Ready-to-Wear (2012)

Alrighty Aphrodite: Im Oktober 2011 verwandelte Karl Lagerfeld den Pariser Grand Palais in eine gigantische, strahlend weiße Unterwasserwelt. Im Rahmen der Chanel Frühling/Sommer Ready-to-Wear 2012 Show konnte man unter der riesigen Glaskuppel maritime Skulpturen von Korallen, Seepferdchen und riesige Muscheln bestaunen.

Die angesehene Architektin Zaha Hadid war maßgeblich an der Gestaltung des Konzepts beteiligt und setzte die Vision eines magischen Meeresbodens tadellos um – traumhafter weißer Sand inklusive. Die Models bewegten sich zwischen riesigen weißen Korallenstrukturen, was die Leichtigkeit und den Schimmer der aus 84 Looks bestehenden Kollektion betonte. Materialtechnisch wurde auf innovative Stoffe zurückgegriffen, die an Fischschuppen erinnern. Ein weiteres zentrales Element waren Perlen, die sowohl als Haaraccessoires als auch in Form von Gürteln und Knöpfen auftauchen. Die ikonischen Chanel Tweedjacken durften natürlich nicht fehlen, kamen aber überraschend jugendlich und relaxed daher.

The auditory highlight of the show was the live performance by Florence Welch (Florence + The Machine), who appeared in the middle of a giant conch shell like Botticelli’s Venus. She performed the song “What the Water Gave Me” while the models walked the catwalk.

Prada Menswear Fall/Winter (2012)

The Devil Wears Prada: Während zur gleichen Zeit die Golden Globes Zeremonie in Los Angeles stattfand, versammelten sich Schauspieler wie Willem Dafoe, Tim Roth, Adrien Brody und Gary Oldman in Milan, um an der Seite von professionellen Models Pradas Herbst/Winter Kollektion 2012, auch bekannt als derVillains Runway, zu präsentieren.

Because what all the men have in common is that they played iconic antagonists in films such as “Spider-Man” or “Pulp Fiction”. Miuccia Prada described the collection backstage as a “parody of male power”. Accordingly, it consisted of double-breasted suits with high button closures, coats with astrakhan collars and pinstripe jackets with a flower in the buttonhole – just what you imagine when you think of the wardrobe of powerful men.

But appearances are deceptive: formal garments were actually made of denim, while fabrics that looked like wool or mohair from a distance were actually made of cotton.

Fendi Spring/Summer (2008)

Karl again and again! You can say a lot about the man. But Lagerfeld knew how to put on a unique fashion extravaganza. For its 80th birthday, the Italian luxury brand Fendi gave itself, us and fashion history a great gift by organizing the very first fashion show on the Great Wall of China.

The models presented 88 pieces designed by Silvia Venturini Fendi and Karl Lagerfeld as they strutted in stilettos along the 21,196 kilometer long and over 2,000 year old wonder of the world. The silhouettes were mostly architectural, clean-cut and elegant, with a focus on flawless draping and high-quality materials. A year of preparation and around ten million US dollars went into this historic show, which took place just in time for sunset. Meanwhile, the 500 invited guests, who had traveled from all over the world for the event, sat in heated seats and clutched their Fendi hand warmers.

Alexander McQueen Spring/Summer (2004)

Alexander McQueen inszenierte für seine „Deliverance“-Kollektion einen Runway, der von Sydney Pollacks Filmklassiker „Nur Pferden gibt man den Gnadenschuss“ mit der grandiosen Jane Fonda inspiriert war. Wie im Drama aus dem Jahr 1969 gab es während der Show, die im historischen Pariser Festsaal Salle Wagram stattfand, junge TänzerInnen zu sehen, die sich in den Zusammenbruch tanzten.

Choreografiert wurde die Darbietung vom Schotten Michael Clark, der als Großmeister des zeitgenössischen Tanzes gilt. Es handelte sich bei der Präsentation nicht um ein klassisches Defilee. Stattdessen stellt sie den Tanzmarathon aus dem Film nach, indem die Models sich zwischen den professionellen Tänzerinnen bewegten. Als großes Finale wurde das Model Karen Elson wie leblos in ihrem zerfetzten Kleid von der Bühne getragen. Eine unmissverständliche Kritik an der Modeindustrie, die es McQueen erlaubte, seinem Frust Luft zu machen.

With over 80 looks presented, “Deliverance” – McQueen’s 23rd collection – is the most extensive season of his ready-to-wear output. It was divided into three phases: First, opulent looks reminiscent of the time before the Great Depression were shown, followed by colorful sportswear and dancewear. The culmination was utilitarian pieces in denim, plaid and functional fabrics that visualized weariness and weariness.

Alexander McQueen Spring/Summer (2001)

Der Anfang setzte den (bedrückenden) Ton: McQueen erschien absichtlich eine Stunde zu spät zur Location – einer Londoner Busgarage – und zwang das Publikum so, sich in der Box aus Einwegspiegeln zu betrachten, die in der Mitte des Raumes stand, während nur das Geräusch eines schlagenden Herzens zu hören war.

As soon as the show began, the box was illuminated from the inside and revealed itself to be an isolation room in a psychiatric ward. The models, all wearing bandages around their heads, moved aimlessly and apathetically through the room as if they were under sedation. The finale is considered one of the most discussed moments in fashion history: A small, dark glass box shattered in the middle of the stage, revealing the naked writer Michelle Olley lying on a chaise longue made of cow horns, wearing a mysterious breathing mask and surrounded by hundreds of living moths – an exact recreation of the photograph “Sanitarium” by American photographer Joel-Peter Witkin. The same artist who inspired his Portrait of Joel McQueen’s controversial crucifix mask, which was presented as part of the Dante Show in 1996.

One of the dresses was made of real razor shells and was deliberately destroyed by model Erin O’Connor during her performance, while another piece was embroidered with 2,000 microscope slides painted blood red. McQueen wanted to show that beauty also exists in “ugliness”, pain and psychological suffering.

Dior Couture, Spring/Summer (1998)

Drama Baby: The controversial fashion genius John Galliano presented his spring/summer 1998 couture show, inspired by the Italian art patron and high society lady Marchesa Casa, on the grand marble staircase of the historic Palais Garnier opera house in Paris.

Begleitet wurde die Show von einem Orchester und TangotänzerInnen, die sich zwischen den Models bewegen. Die opulente Kollektion verband dramatische Art-Nouveau-Silhouetten mit Elementen der Belle Époque und Krinolinen (Reifenröcken). Der damals 38-Jährige Galliano organisierte so ein Modespektakel, dass in die Geschichte des Hauses Dior einging.