Latest news with #MichaelRider
Fashion Network
3 hours ago
- Entertainment
- Fashion Network
Celine: Amid a deluge, Michael Rider debuts with poise and panache
In a year of debuts, this July's key new entry was Michael Rider at Celine, where before a tightly edited audience inside the company HQ, the American presented an excellent collection of great poise and panache. The house closed a whole block at 16 rue Vivienne, where Celine is based, and left scores of bicycles outside bearing new versions of the straw bags that Celine has made this summer's hit tote. But instead of a summer idyll, the heavens opening in a deluge just as the show began. Rider's invitation played on heritage with a fine silk foulard that many guests wore to the show. Inside the mansion HQ's courtyard, the seating was done in mock sandstone cut into the giant double C that Rider's predecessor Hedi Slimane had made into such a cult logo. A giant silk scarf – in a belt, tassel, ribbon print - hung above guests. It would have been ideal to block out the sun on a blue sky day, but was utterly useless at keeping out the rain, sadly. Inevitably, there was a sense of restoration about the show, since Rider had spent nine years working at Celine during Phoebe Philo's tenure as creative director before he departed shortly after the arrival of Slimane. Michael then went on the become the creative director of Ralph Lauren Polo for six years. His opening looks were all elegant yet kicky: a double-breasted bolero with sporty harem pants; the first of many tech-y pencil pants paired with a hacking jacket cut for a toff; or mannish pleated pants worn with black cashmere twin set finished with contrast white buttons. Everything dramatically accessorized – multiple golden and signet rings; elaborate chains in a multitude of links; peppers in various shapes done in primary blue, red or green. In a co-ed show, Rider dressed guys in power-shoulder jackets; giant rugby jerseys though made of cashmere; a whole series of stretch nylon legging jodhpurs – that riffed on elements of Hedi's Celine skinny silhouette. And a rather divine dandy in parachute pants and white knitted top featuring a gent, horse and carriage, playing on the brand's equestrian heritage. Another reason this felt like a hit show – it was fresh, yet familiar. Clearly at ease with the brand's whole cosmopolitan Parisian look, Rider took plenty of risks, from a little black dress made of thousands of gold lettered labels or the cherry red drop shoulder varsity jacket cut cocoon style, or a micro lambskin rocker jacket, with one Centurion-worthy sleeve made of gold chains. 'I love where something useful and real meets something incredibly fascinating. That's what's interesting about coming back to Celine, turning around what the house is,' explained the quietly spoken Rider post-show. 'Celine stands for quality, actuality, style and timelessness…' was the Washington-raised designer's definition of Celine, before adding: 'So, we were thinking as much about the beginning of the company, as the nine wonderful years I was here, and then the last six years... Part of what I would like to do is let it breathe again.' Celine was founded by Céline Vipiana in 1945, growing to become a well-respected niche brand noted for its spruce French style. In 1987, LVMH acquired Celine and began installing name designers, notably Michael Kors in 1997. Though the brand accelerated both critically and commercially after the appointment of Philo in 2008. Subsequent to her departure, hardcore fans known as "Philophiles" largely rejected the sharp-eyed rock-n'roll attitude of her successor Slimane. Some clients even staged mock restoration lunches, even as Hedi staged his first show for the house behind Napoleon's Tomb. So, today felt rather like ending a schism, presented on a wet Sunday, to capitalize on editors and clients being in Paris for haute couture, whose season begins Monday. And ending the rift with dazzle, for this was the most colorful collection by Celine this critic has seen in 35 years.
CNN
4 hours ago
- Entertainment
- CNN
Naomi Watts, BTS' Kim Taehyung and more turn out for Celine fashion show
It was eerily still in Paris on Sunday, as the streets came to a standstill for 'Paris Respire', a car-free scheme where certain districts in the city are closed to motorized traffic for the day. Yet, the Tuileries Gardens was buzzing with a stylish crowd, many of whom wore the same white scarf tied around their neck, wrist, or bag. Far from it being a coincidence, the scarf was part of the invitation that luxury label Celine had sent to guests invited to see its Spring 2026 collection. Staged at the brand's Right Bank headquarters, a day before Paris Haute Couture Week, the show was notable: Not only was it Celine's first in years (the last physical show took place in December 2022, under its former designer Hedi Slimane, who preferred to his present his collections via short films), it also offered a first look at the highly anticipated debut designs under new artistic director Michael Rider. Since being appointed at Celine in October last year, taking up the role in early 2025 after six years at Polo Ralph Lauren, Rider has laid low. While French luxury house Dior sought to drum up interest for its new designer Jonathan Anderson by teasing elements of the new collection on social media, Celine has kept everything under wraps, with the silk scarf invite — which also features in the brand's advertisements plastered across Paris — being the only indicator for what to expect. A bevy of high-profile stars sat under a giant carré de soie (silk pocket square) stretched like a canopy in the courtyard. These included Naomi Watts, Kristen Wiig, and Kim Taehyung, better known as V, from K-pop band BTS, who arrived on a bicycle. Singer Alanis Morisette told CNN ahead of the show that she had 'so much anticipation to see what Michael Rider has done.' Other fashion designers including Jonathan Anderson and Raf Simons, formerly of Jil Sander, Dior and Calvin Klein, also turned out to show their support. The show, which took place in the rain (attendees were given Celine-branded umbrellas), comprised both men and womenswear. There were nods to the brand's past, whether it was the references to the 1970s archives, the clean lines reminiscent of former designer Phoebe Philo (who amassed a cult following known as 'Philophiles' during her tenure), or the lean silhouettes favored by Slimane. Also present were culottes paired with flat Mary Janes and a full flash of the Eighties: balloon-leg washed denim trousers, high-waisted pants tucked into boxing boots, and a tweed jacket with wide shoulders. Horsebit detailing adorned slim ankle boots. But Rider also wove in references to his own past — an argyle jumper could have come straight out of a Ralph Lauren collection, while flounced hems on a knit cardigan recalled Balenciaga's cocoon shapes during Rider's time working under designer Nicolas Ghesquière in the early noughties. There were personal playful touches, too: see the opulent stacked jewelry, rings on every finger. In all, there was a preppy American feel intertwined with French sophistication in the looks. Law Roach, stylist to the stars including Zendaya, seemed to have an inkling for what was coming. 'I want to see this American flair in this Parisian house… I'm so excited to see the newness,' he told CNN ahead of the show, nodding to the long history of American designers in Paris, including Michael Kors who designed Celine from 1997 to 2004. Rider is stepping into big shoes: His predecessor turned Celine into a commercial heavyweight, bringing in an estimated €2.5 billion ($2.76 billion) annually, with the expansion of menswear, leather goods, and fragrance — areas that Rider will continue to oversee. But with his deep familiarity with the Celine maison, he seems intent on ushering in a chapter that is less about spectacle and more about nuance — an approach that tends to age well in fashion.
CNN
4 hours ago
- Entertainment
- CNN
Naomi Watts, BTS' Kim Taehyung and more turn out for Celine fashion show
It was eerily still in Paris on Sunday, as the streets came to a standstill for 'Paris Respire', a car-free scheme where certain districts in the city are closed to motorized traffic for the day. Yet, the Tuileries Gardens was buzzing with a stylish crowd, many of whom wore the same white scarf tied around their neck, wrist, or bag. Far from it being a coincidence, the scarf was part of the invitation that luxury label Celine had sent to guests invited to see its Spring 2026 collection. Staged at the brand's Right Bank headquarters, a day before Paris Haute Couture Week, the show was notable: Not only was it Celine's first in years (the last physical show took place in December 2022, under its former designer Hedi Slimane, who preferred to his present his collections via short films), it also offered a first look at the highly anticipated debut designs under new artistic director Michael Rider. Since being appointed at Celine in October last year, taking up the role in early 2025 after six years at Polo Ralph Lauren, Rider has laid low. While French luxury house Dior sought to drum up interest for its new designer Jonathan Anderson by teasing elements of the new collection on social media, Celine has kept everything under wraps, with the silk scarf invite — which also features in the brand's advertisements plastered across Paris — being the only indicator for what to expect. A bevy of high-profile stars sat under a giant carré de soie (silk pocket square) stretched like a canopy in the courtyard. These included Naomi Watts, Kristen Wiig, and Kim Taehyung, better known as V, from K-pop band BTS, who arrived on a bicycle. Singer Alanis Morisette told CNN ahead of the show that she had 'so much anticipation to see what Michael Rider has done.' Other fashion designers including Jonathan Anderson and Raf Simons, formerly of Jil Sander, Dior and Calvin Klein, also turned out to show their support. The show, which took place in the rain (attendees were given Celine-branded umbrellas), comprised both men and womenswear. There were nods to the brand's past, whether it was the references to the 1970s archives, the clean lines reminiscent of former designer Phoebe Philo (who amassed a cult following known as 'Philophiles' during her tenure), or the lean silhouettes favored by Slimane. Also present were culottes paired with flat Mary Janes and a full flash of the Eighties: balloon-leg washed denim trousers, high-waisted pants tucked into boxing boots, and a tweed jacket with wide shoulders. Horsebit detailing adorned slim ankle boots. But Rider also wove in references to his own past — an argyle jumper could have come straight out of a Ralph Lauren collection, while flounced hems on a knit cardigan recalled Balenciaga's cocoon shapes during Rider's time working under designer Nicolas Ghesquière in the early noughties. There were personal playful touches, too: see the opulent stacked jewelry, rings on every finger. In all, there was a preppy American feel intertwined with French sophistication in the looks. Law Roach, stylist to the stars including Zendaya, seemed to have an inkling for what was coming. 'I want to see this American flair in this Parisian house… I'm so excited to see the newness,' he told CNN ahead of the show, nodding to the long history of American designers in Paris, including Michael Kors who designed Celine from 1997 to 2004. Rider is stepping into big shoes: His predecessor turned Celine into a commercial heavyweight, bringing in an estimated €2.5 billion ($2.76 billion) annually, with the expansion of menswear, leather goods, and fragrance — areas that Rider will continue to oversee. But with his deep familiarity with the Celine maison, he seems intent on ushering in a chapter that is less about spectacle and more about nuance — an approach that tends to age well in fashion.
New York Times
8 hours ago
- Entertainment
- New York Times
Introducing the New New Celine
The New New Celine arrived on the runway during a rainy day in Paris. The heat dome over Europe finally had broken, and water was dripping through a giant red, white and blue Celine scarf that had been strung over the courtyard of the brand's headquarters, landing delicately on the heads of the guests seated below. Michael Rider was making his designer debut, and he presumably wanted to invite everyone into the brand's home, both as a welcome and a reset. It had been eight months since the previous creative director, Hedi Slimane, departed the job, and five years since Celine was part of any official fashion week at all. What emerged, however, was more like a synthesis: a dialectic in wardrobe form between the subversive, female-centric luxury of Old Celine made famous by Phoebe Philo and the didactic desiccation-meets-the-bourgeoisie of New Celine as defined by Mr. Slimane; between the lunching chic of Original Celine established in 1945 by its founder, Céline Vipiana, and the preppiness of Mr. Rider's recent stint as women's design director of Ralph Lauren. All of it sent through the looking glass only to re-emerge in twisted form on the other side. It was familiar, but in a messed up way. At least in Mr. Rider's hands, the effect was compellingly (rather than alarmingly) unsettling. Blazers were oversize, with the waist pulled slightly off its axis, shoulders sloping out — not to push through a glass ceiling, but to poke it, and maybe add a tickle or two. Pants were legging or long john tight (Mr. Rider is one of those designers seemingly committed to the concept of men in leggings, which may be a sly commentary on Mr. Slimane's famously skinny silhouette, but is never really a good idea) but also pleated at the waist and curvy at the thigh, paired with equally curvy cropped leather jackets and tucked into supple leather boxing boots. Want all of The Times? Subscribe.
Grazia USA
10 hours ago
- Entertainment
- Grazia USA
Michael Rider Makes His Directorial Debut At Celine Spring 2026
Celine Spring 2026 / All images: supplied The rain in Paris on Sunday couldn't dampen the mood at 16 rue Vivienne, where Michael Rider made his much-anticipated debut as creative director of CELINE. A homecoming of sorts, Rider—who previously worked under Phoebe Philo—returned to the maison with a mission: to honour the House's storied past while crafting a new lexicon of modern elegance. 'Coming back… in a changed world, has been incredibly emotional for me,' Rider reflected in the show notes. The emotion was palpable. Held in CELINE's own atelier, steps from the Tuileries Garden, the show attracted a suitably international front row: Naomi Watts, statuesque in tailored wool, and BTS's Kim Taehyung, recently discharged from South Korean military service, made a discreet arrival, alongside Dan Levy, Kristen Wiig and Ramy Youssef, to name a few. The clothes? A compelling entry into what's to come. Rider offered both menswear and womenswear, interwoven with an eye for classic luxury. Gone were the exaggerated silhouettes of recent seasons. In their place, trousers so snug they may as well have been painted on—Rider's winking nod to his predecessor, Hedi Slimane's razor-sharp aesthetic. But the story here wasn't just Slimane redux. There were breezy shirting pieces, heritage wools, and buttery leathers, designed for longevity over flash, and styled playfully with statement accessories. 'CELINE stands for quality, for timelessness and for style, ideals that are difficult to catch, and even harder to hold on to, to define, despite more and more talk about them out there,' Rider wrote, no doubt referencing the unrelenting discourse around 'stealth wealth' and micro-trend criticism. 'I've always loved the idea of clothing that lives on, that becomes a part of the wearer's life,' he continued—a sentiment that showed on the runway. In a time when it feels like luxury brands are increasingly leaning into novelty and reporting drops in sales, Rider's debut was marked by refreshing subtlety and conspicuous quality, all while remaining uncompromising on aesthetic flair. These were garments destined not for Instagram but for real lives, touched by movement and meaning. CELINE, under Rider, seems poised not to chase fashion's fickle pace, but to slow it down, breathe it in, and make it matter again. An irreverent return.
