Michael Rider’s debut for Celine wove together the brand’s diverse pasts, but for all its deliberate curation, the show felt more like a splash of synthesis than a compelling new artistic statement

It was one of those many must-watch shows this season. But in what could be a kiasu (afraid to lose) move, Michael Rider presented ahead of other brands for spring/summer 2026. It was a return to the IRL show after predecessor Hedi Slimane’s sharply filmed mini-movies as runway narratives. Mr Rider’s debut has rapidly won praise for its strategic synthesis, creating what has been described as a “unity of factions”. While tactically sound for immediate appeal, a pastiche of inspiration, no matter how meticulously stitched, rarely ignites the singular desire crucial for sustainable success. The collection felt like a compilation of Celine’s past, beginning from Phoebe Philo, whom Mr Rider worked under before decamping for Polo Ralph Lauren, and then through the Hedi Slimane years, with touches of what he gleaned at Polo. A debut of this magnitude, however, should leave a lasting visual imprint. Yet, after the show, the abiding impression was of a well-executed collection, but one strangely devoid of that singular, unforgettable ‘look’ that defines a new chapter.

Unveiled at the brand’s Rue Vivienne headquarters, the Celine collection was, no doubt, a homecoming for Mr Rider. Before the show, many were wondering if he would return the brand to Ms Philo’s minimalist aesthetic that she no longer delivers quite so convincingly under her eponymous label. But it was not to be so. As the collection was over-accessorised, it was hard to determine if there was, underneath all the surface-level excess, the savvy minimalism that existed during Ms Philo’s successful tenure. Initial impression conveyed a cocktail of practicality, comfort, versatility, and ease of integration into a real person’s wardrobe that are filled with pieces that can be worn in various settings, are easy to style, fit well, and don’t feel overly precious or restrictive. While these qualities now define how Celine could be described, in the context of a luxury brand, the expectation remains that wearability is achieved through intriguing design, not in spite of it.

To be sure, the 68-look collection was imbibed with enough cool to draw new fans who have turned away from the usual suspects peddling youthful verve with little character. Mr Rider’s calculated wearability, dabbed with styling quirks, was seen as a positive shift by many, especially given the market’s current demand for practical luxury. The bridging of eras could mean looking at past sales charts to bring together some of the best-sellers of previous creative directors. Easy, therefore, it was to pick out Ms Philos signature upsized jackets, pinched waists, and sophisticated use of scarves, alongside Mr Slimane’s ultra-slim pants and tiny black dresses. Some styles were even evocative of the “collegiate” phase of Nicolas Ghesquière’s tenure at Balenciaga. The ease was more tallied now and the scarf (in place of Mr Ghesquière’s keffiyeh) was more deliberately used, as part of a garment to obscure, for example, very regular notched lapels of blazers. Some of the tented dresses were evocative of Celine’s bohemian years of the ’70s, with such swing and voluminous backs that the late Karl Lagerfeld would have approved.

The collection did not end the menswear component, first introduced by Hedi Slimane in 2018. But unlike Mr Slimane’s era, when menswear was a distinct and usually prominent category, Mr Rider’s approach seemed to integrate men’s styling and pieces within the overall collection’s narrative. It was a co-ed presentation where male models showcased pieces that aligned with the broader themes, effectively making the collection gender-neutral. One camel twin set, for example, was worn with the round-neck cardigan askew, like a one-sided cape, and culottes so roomy and sleek that Mr Slimane’s “bourgeois” girls would now want them all, too. To possibly serve as a reminder of his Polo Ralph Lauren years, Michael Rider included rugby jerseys, except now, rather than a forced New England posh, they are in the length and girth of jellabas and could be from the wardrobe of fashion-forward Moroccan football players. The melding was not a strictly Parisian affair, perhaps suggesting an anthological approach, leaving Celine’s future direction purposefully ambiguous rather than boldly defined.

Photos: Celine