Our first look at Michael Rider’s CELINE today, for its Spring 2026 “Printemps” show in Paris, felt like an emulsifier, mixing the water of Philo and the oil of Slimane. Taking the strongest characteristics of both, alongside nods to the brand’s archive and new influences as well, Rider debuted a collection that was refreshing yet familiar: exactly what CELINE needs right now, and exactly what the fashion world is craving.
CELINE’s new creative director Michael Rider, who previously worked under Nicolas Ghesquière at Balenciaga and Phoebe Philo at CELINE, before being credited with revitalising Polo Ralph Lauren, took on a huge task today, stepping up to one of Paris’ most prestigious fashion labels, a challenge that we’ve seen other creative directors grapple with. The handover between Phoebe Philo and Hedi Slimane in 2018 was quite an abrupt switch up that cult fans of Philo’s CELINE took time to adjust to. In comparison, our first look at Rider’s CELINE was natural and easy, a blend of archival references and modern influences that just made sense. Our main takeaway is: Rider did not come to play.
Hosted inside CELINE’s atelier’s headquarters, which has been opened up for the first time in ten years, the cobbled streets surrounding the venue were closed off and littered with branded bikes with straw and python bike bags, parked against railings. We entered the open air show space by physically walking into the house of CELINE, which felt extremely symbolic. It was a reminder of the fact that Rider is opening the doors of the French house, not only with his reintroduction of physical runway shows (which Hedi Slimane replaced with digital shows only), but also by letting us step inside the brand’s HQ.
Above the runway hung a huge, silk, printed scarf, a taste of what to expect from the show and a reference that had already been made in CELINE’s invites this season, which were knotted, off-white scarves. The accessory has been an integral part of CELINE’s design identity since it was founded, embodying the brand’s Parisian roots. Within French culture, scarves are iconic, worn on any occasion and in a huge variety of styles, wrapped around your head, neck, or waist, tied to bags, or even in the place of clothing like a skirt or top. This set the scene for Rider’s CELINE, which unveiled a combination of heritage codes, archival nods, and Parisian styling.
Phoebe Philo references came in clutch
Rider referenced the minimalist and professional designs of Phoebe Philo’s CELINE, which attracted the brand’s cult following during her tenure at the house, through softened structures, a clean palette with moments of colour, and an emphasis on textures and quality. And similarly to Phoebe Philo’s era at CELINE, Rider also placed a lot of emphasis on the scarf.
Slimane's skinny silhouettes were not amiss
In contrast, Hedi Slimane’s CELINE was characterised by thin, cropped silhouettes, rock and roll aesthetics, and French traditionalism, all notions that Rider played with on his runway. Slimane’s skinny trousers were a familiar theme on the runway, although in stretchier, more wearable materials and cut like riding crops, playing into the equestrian theme of the collection.
Scarves were the main character
Scarves were a key element on Rider’s runway, seen poking out from beneath collars, wrapped around the busts of dresses, and hanging along with keyrings on lapels and bags. Rider’s repetitive use of scarves was like a constant reference to CELINE’s Parisian codes. They also played into the relaxed Parisian styling of the collection, where accessories felt natural and wearable, as opposed to overstyled and stiff.
Rider's CELINE is betting on jewellery
One sleeve of a brown, leather jacket was adorned in gold and silver keys, lockets, and other charms; another jacket was fastened with a golden wire wreath, manipulated to look as though it was crafted out of wheat or straw; and almost every models rings were stacked. Amidst a jewellery boom, it's obvious that Rider's CELINE is betting on opulence and we're here for it.
Familiar favourites made a return
Rider also delved into the forgotten codes of CELINE’s past, bringing back an item that hasn’t been on our radar since Phoebe Philo’s tenure by presenting a newly updated take on the iconic CELINE phantom bag. Beloved by fans of the era, CELINE’s phantom is easily one of the most iconic totes in the brand’s history, known for its easy blend of opulence with everyday utility.
In his show notes, Rider wrote, “I’ve always loved the idea of clothing that lives on, that becomes a part of the wearer’s life.” It’s clear to see that the different eras of CELINE’s rich past have lived on with Michael Rider, given how he’s now manipulating and reviving them so naturally it feels like they’re his own. If this is what the new CELINE looks like, we can’t wait to see more.
Featured image via Celine©
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