At Paris Fashion Week, Michael Rider made a confident and heartfelt debut as the new creative director of Celine, crafting a collection that gracefully bridges the house’s iconic past with a fresh and contemporary vision. The spotlight shone brightest on the delicate ivory-and-black silk scarves, which were not only wrapped elegantly around the guests’ necks but also threaded through belt loops or hung casually from handbags — a thoughtful nod to Celine’s heritage and a clear sign that this era is moving forward from the playful Labubu mascot phase.
These scarves were no mere accessories; they were symbols of continuity and sentimental value. Rider explained to reporters after the show that scarves carry a personal resonance, often cherished, passed down, or gifted — embodying memories and connections. “Scarves are something I wear and everyone wears differently,” he said. “At Celine, scarves mattered immensely from the very beginning. I liked the idea of reviving that tradition.”
Indeed, Rider’s debut collection felt like a respectful dialogue with the legacies of both Hedi Slimane and Phoebe Philo, under whom he himself had worked. He managed to preserve the essence of these influential eras while infusing elements drawn from his recent experience as creative director at Polo Ralph Lauren. The result was a blend of refined minimalism and subtle preppy flair, such as sweaters casually draped over shoulders — an understated luxury that hinted at relaxed elegance without sacrificing sophistication.
While some recent house references, like those to Rue Cambon, were left behind, Rider rewarded attentive observers with delightful Easter eggs. A classic Luggage bag was transformed into a chic weekender featuring a curved zippered pocket evocative of a smile, and a gangly, long-haired male model sported a logo T-shirt paired with skinny jeans, alongside a looser, more relaxed silhouette variation.
Navigating the high expectations of the luxury fashion world and its complex web of stakeholders, Rider crafted a collection designed to please without pandering. In a time when the luxury sector faces economic uncertainty and shifting consumer moods, this was a masterful balancing act — honoring Celine’s heritage while introducing fresh novelties.
The show took place on a drizzly afternoon inside Celine’s historic headquarters on Rue Vivienne. Models moved swiftly across the polished limestone floors, their steps punctuated by the pulsating rhythms of The Cure, lending the atmosphere a subtle edge of nostalgic melancholy.
Tailoring stood out as a highlight of the collection. Strong-shouldered jackets featured high-button stances, creating a pinched Empire line silhouette that was both flattering and commanding. Alongside these, narrow, buttonless coats with elegant cutaway openings suggested modernity and ease. Pants varied from sleek leggings to loose culottes, some with sharp cuffs and satin stripes reminiscent of tuxedo pants — a playful nod to ‘80s aesthetics. The mix of pleated carrot-shaped trousers and harem pants tucked into soft wrestling boots added a hint of unexpected rebellion, blending streetwear’s comfort with high fashion’s polish.
The collection was notably coed, seamlessly covering daywear through to evening attire. Rider’s little black dresses were elevated with delicate garlands of jet beading, offering glamour without excess. His ivory infanta gown was striking in its simplicity — akin to a luxurious T-shirt dress, unadorned except for a charmingly small chest pocket, a subtle but impactful detail.
While some accessories and costume jewelry carried an excess of charms and baubles that felt slightly overwrought, new shapes emerged in classic Triomphe canvas, and raffia totes appeared in various sizes — embracing natural textures and broadening Celine’s accessory vocabulary.
The show was a star-studded affair, with Karen Brown, Rider’s successor at Polo Ralph Lauren, and a team from Lauren’s headquarters showing their support. Designers Lucie and Luke Meier, Jonathan Anderson, and Raf Simons were also in attendance, adding an electric energy to the event. Rider himself, typically a behind-the-scenes figure, appeared poised and composed in backstage interviews, exuding a quiet confidence without revealing too much about future plans.
His reflections underscored the core values driving his vision for Celine — quality, timelessness, and enduring style. “I was thinking a lot about something very real,” Rider said. “There’s a foundation here that we’re building on. We honor the beginning of the company, the nine wonderful years I was here, and the last six years, too.”
Celine’s story began in 1945, founded by Céline Vipiana as a shoe company before evolving into a luxury powerhouse under the LVMH umbrella since 1996. The house has seen ebbs and flows in popularity — the American designer Michael Kors energized the brand during his tenure from 1997 to 2004, but subsequent leadership from Roberto Menichetti and Ivana Omazic struggled to maintain momentum. It was the transformative leadership of Phoebe Philo and later Hedi Slimane that truly cemented Celine’s status in fashion’s upper echelon.
Rider’s debut suggests a desire to blend classicism with a fresh dose of panache and a refined zing, making Celine both a symbol of lasting elegance and contemporary cool.
Interestingly, Rider chose to express his creative philosophy through a letter rather than conventional show notes — a growing trend among designers seeking a more personal connection with their audience. His letter articulated a love for clothing that endures, that becomes woven into the wearer’s life story. “I’ve always loved the idea of clothing that lives on, that becomes 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 — of the past, the present, and the future — of memories, usefulness, fantasy, and ultimately, life.”
This sentiment is perhaps the most compelling takeaway from Celine’s Spring 2026 collection: a commitment to timelessness that feels genuine and achievable in an industry often obsessed with the next big thing. Rider’s work honors the past while nudging the house forward, crafting pieces meant not just to be worn, but treasured.
In a fashion world hungry for authenticity and longevity, Michael Rider’s debut offers a promising blueprint for how heritage brands can evolve with grace and spirit. Celine’s scarves, once mere accessories, now become keepsakes — tokens of a refined legacy passed from generation to generation.