IN THE midst of the great reshuffle within the fashion houses, Michael Rider’s appointment at Celine happened almost instantaneously—and was somewhat overshadowed by the constant flux of change.
Yet yesterday, at the brand’s atelier on 16 rue Vivienne, nine months after being named its new creative director, the American designer unveiled a quiet but already triumphant new chapter for Celine.
The show, held in a modest space beneath a giant silk scarf canopy and notably free of the usual bombastic front row of celebrities, marked a return to bourgeois cool. It paid homage to the house’s revered past—nods to both Hedi Slimane and Phoebe Philo—while introducing Rider’s distinctly contemporary twist.
While others in his position might have done a 180 and attempted to erase the past, Rider chose instead to honour, reshape, and redefine Celine without a drastic overhaul. Having spent over a decade working under Philo at Celine, and with previous tenures at Balenciaga under Nicolas Ghesquière and as creative director at Polo Ralph Lauren, Rider’s wealth of experience was woven seamlessly into his debut Spring/Summer 2026 collection.
His show notes were succinct: “CELINE stands for quality, for timelessness, and for style.” Both of his predecessors shared a vision of designing beyond the constraints of era or trend—creating wardrobe staples elevated by impeccable materials and detailing. Celine has never been about show-stopping feather boas, but rather about the kind of exceptional coats you wear every winter, and shirts suited for any occasion.
As Rider put it: “I’ve always loved the idea of clothing that lives on, that becomes a part of the wearer’s life, that may capture a moment in time but also speaks to years and years of gestures and occasions and change.”
There were deliberate winks to the Philophiles, who would have delighted in bold-shouldered blazers, funnel necks, and floor-grazing hemlines. Meanwhile, die-hard Slimane fans were likely reassured by the continued presence of super-skinny jeans and sharp tailoring.
Yet, for all the homage, Rider’s own influence was unmistakable. Colour appeared in abundance: Oxford shirts, striped ties, and bold knits injected an ecstatic, preppy fusion into the mix. Drama emerged through balloon-cut trousers, bolero jackets, and ruffled detailing, with belts used inventively to shape and cinch.
Under Slimane, Celine became LVMH’s third-largest brand, and with the changing of the guard, expectations are high. Rider seems well aware of the stakes—accessories, jewellery, and bags featured prominently throughout the collection.
Chunky mismatched gold and silver jewellery, stacks of statement bangles, and playful keyrings that echoed souvenir trinkets made their way onto bags. Monogrammed belts, oversized woven totes, silk scarves tied into ponytails, and the reappearance of the Celine Phantom Shopper all signalled one clear takeaway: at this new Celine, more is definitely more.
It was a masterful debut—one that demonstrated Rider’s intrinsic understanding of creative diplomacy, and his ability to carve out a fresh voice within an established legacy. A new chapter has begun: rooted in tradition, yet brimming with new ideas.
by Imogen Clark