With his debut collection for Celine, Michael Rider delivered a masterclass in modern dressing: considered, confident, and grounded in ease. The show marked a return, yes—Rider had previously worked at the house during the Phoebe Philo era—but everything felt new and right for right now in all of the best possible ways. It was about pieces. Perfect pieces. Sometimes reimagined. Clothes built for wardrobe, not just a runway.
It’s the kind of dressing that feels instinctive, effortless yet undeniably polished. A sloped-shoulder jacket, nipped at the waist, layered perfectly over a white turtleneck and a silk blouse with gold buttons, buttoned to the top. Scarves not tied, but draped—intentional, effortless. Shirt tails left out, collars popped. Rings stacked on every finger in mixed metals and gold signet styles, punctuated by bold, colorful domed enamel pieces. Looks color-blocked with precision: a Kelly green blazer, a cropped red knit, and a blue oxford layered in a nod to prep, punctuated perfectly with a soft butter-yellow boot. Straw bags, carried into evening with ease.
Everything looked precise and curated, but wearable—a distilled edit of everything you need, but pulled together to give each piece a newfound energy. Cropped barrel-leg jeans with a crisp center pleat felt like a new everyday uniform piece, finished with a fresh take on the logo belt, brushed gold oval finely etched with “Maison Celine Paris.” (I’m obsessed.) White dance shoes grounded many looks. Softly balloon-shaped pleated pants that were neatly cuffed and cropped, worn with a sock or tucked into a boxing boot. A solo black perfecto jacket, cinched at the waist with golden wheat pins on the front, stood out. Thick gold chain links gave an ’80s nod with charms—bike locks, hearts, keys, and enamel horns—worn as layered necklaces and bracelets. Each piece, at once nostalgic and new, felt like the perfect final touch—and undeniably personal. Then there were the oversized rugby shirts—styled on boys, but designed for everyone.
Rider’s eye for the quintessential—and his instinct to mix those pieces with such dexterity—is unmistakable. It’s the kind of collection that stays with you long after the show ends. I don’t just admire it—I want it all.
Charmed and Stacked
Big gold-link charm bracelets layered with coins, hearts, bike locks, and Celine signatures for a personal statement look. Rings stacked in mixed metals with signet and domed enamel pops of green, cobalt, red, and pink.
The Graceful Drape
Bold silk scarves weren’t tied at the neck but gracefully draped and tucked into a jacket—an elegant new take on scarf dressing.
Gentle Barrel Jeans
With a sculpted curve and crisp center pleat, these jeans balancedsoftness and structure, high-waisted and cropped just right.
Masterfully Layered
The white turtleneck takes center stage, perfectly layered under a slope-shouldered jacket, a silk button-front blouse buttoned to the top, or an effortlessly tied scarf chemise.
Tails Out
A crisp oxford tail peeks out beneath bold blocks of Kelly green, tomato, and cobalt. What’s usually considered unpolished here feels perfectly intentional. It’s ease with precision, where the undone is done just right.
Pleats Perfected
Volume with control, cropped just right or tucked into a boxing boot, and finished with a gold tied loafer or a flash of a white sock.
Evening Ease
Maxi dressing, minimal effort: a sweep of a gown meets the ease of white leather lace-ups and a straw hat.
Prep School
Oversized color-blocked rugby shirts and a red sweater thrown over the shoulders offered a fresh nod to classic preppy chic.
Shoulder Toss
A classic, re-buttoned: the cardigan gets a polished update with a row of gleaming closures and a toss-over-the-shoulder ease.
Chic, Sharp and Double Breasted
Adorned with exquisite gold wheat broaches, nipped at the waist, or finished with an oversized luggage belt, the black coat gets a chic update.
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