The Celine Statement

One of the most anticipated collections of the season, Michael Rider’s debut at Celine delivered a deft fusion of his American design instincts with the quintessential codes of the Parisian house. There were nods to his predecessors — Michael Kors, Phoebe Philo, and of course, Hedi Slimane — but make no mistake: this was Rider’s statement. And while the fashion crowd offered generally positive nods, one couldn’t help but wonder — was this heavily styled, reference-rich collection truly enough to meet the moment? Here is everything you need to know about the new Celine.

Back to the Roots

After three years of no runway shows under Hedi Slimane — who preferred cinematographic video clips and photoshoots over IRL presentations — Celine is officially back in the fashion week circuit. Well, unofficially. The brand staged its co-ed spring/summer 2026 show off-schedule, slipping in just after menswear and the day before couture, when editors were already loitering around Paris for the first Fashion Ball at the MAD Museum and Patou (a slot also often used by Alaïa, who favoured showing off-schedule). It was a strategic homecoming, not just for the brand, which staged the event at its Rue Vivienne headquarters, but also for Rider, who once led the women’s studio under Philo before decamping to Polo Ralph Lauren. Now, he’s back — and he has something to say.

“Coming back to Celine, and to Paris, back to 16 rue Vivienne in a changed world, has been incredibly emotional for me. And a complete joy,” Rider wrote in his show notes. “Celine stands for quality, for timelessness and for style, ideals that are difficult to catch, and even harder to hold on to, to define. We worked on translating them into a way of dressing – of the past, the present and the future, of memories, of usefulness and of fantasy. Of life, really”.

Celine Boys and Girls

This was a proper co-ed collection, featuring both menswear and womenswear with ease and style — a tailored, effortless kind of cool. Think: Hedi’s sharp tailoring and distressed jeans, Phoebe’s slouchy silhouettes and carrot-cut trousers, and a clear, wearable ease that felt like Rider wasn’t trying too hard.

The menswear in particular had editors buzzing. It begged the question: Is this what a Philo-era Celine boy might have looked like had he existed? The womenswear, meanwhile, riffed on Parisian tropes — the Little Black Dress in every imaginable variation (short, long, sparkly, puffed), pristine white turtlenecks (aka the piece of the next season) layered with crisp shirts and an abundance of silk scarves.

American preppiness peeked through in bold colour-blocked jumpers, cropped leather bombers, and shoulder-padded blazers that whispered of ’80s New England country clubs — but styled with chunky, borderline-gaudy jewellery that, miraculously, didn’t tip into tacky. Accessories-wise, one major moment: the return of the cult Phoebe-era Phantom bag, now with a curved zip and more compact form — dubbed by insiders as the “smiling” Phantom.

The Industry Verdict

While the gatekeepers largely praised the show, from BOF’s Angelo Flaccavento (arguably the most punk voice among fashion critics), who gave it a green light, to the sharp-eyed, anonymous insider behind @BoringNotCom, it wasn’t unanimous. The latter awarded the collection a rare 9 out of 10, writing: “This might be our first 9 of the year, and it’s well-deserved. At first, it was giving Sandro, and I got nervous, but then I started clutching my pearls… The beauty? Undeniable. The accessories? Fabulous.”

But not everyone bought into the buzz. Independent writer Philippe Pourhashemi — who’s become known for his acerbic takes alongside Style Zeitgeist’s Eugene Rabkin on their must-listen podcast — took to Instagram with a Hedi-style, all-caps post, questioning whether the fashion world really needs another brand rehashing heavily styled WASP-coded clothing, without a hint of irony: “Does Paris need another Michael Kors? I don’t think so. Will the clothes and accessories sell? Probably. But remember, it’s not because something sells that it necessarily has value, substance and depth.”. Fair point. As we brace for a women’s season stacked with debuts of creative directors playing musical chairs, the question lingers: in a landscape oversaturated with nostalgia, branding, and déjà vu, do we really want more of the same? Or — dare we say it — do we deserve more?

Courtesy: Celine

Text: Lidia Ageeva