Celine’s Spring/Summer collection takes shape around a thoughtful reinterpretation of the Maison’s heritage and archive, which Rider approaches with a renewed sensitivity. As he has done before, he moves through the stylistic eras of his predecessors to arrive at a synthesis that is uniquely his own. In this creative process, time plays a central role; Rider, in fact, describes the collection as a continuation, as if the July show had never truly ended, introducing a fluid sense of continuity, uninterrupted by sharp breaks. The contemporary Celine woman is a figure whose identity is shaped in dialogue with the city, with Paris as her natural home. Rider envisions dressing this woman, and as the show unfolds, his aesthetic becomes unmistakably clear: a kind of uniform. Within this coherent vision, the balance between revealing and concealing becomes the guiding thread of the collection. A palpable tension emerges between discretion and allure, between slightly unbuttoned shirts and dresses that merely suggest glimpses of skin. Every gesture is controlled, every neckline precisely designed to hint, never to expose. What stands out is how the body becomes the axis around which the entire collection is built, shown in varying degrees of exposure. The silhouettes oscillate between generous volumes and sharp lines, pairing skinny trousers with layered long dresses. Silk shirts are worn open, while the scarf becomes a key element of visual construction. In Rider’s imagined world, symmetry does not necessarily equate to harmony; even asymmetrical elements are meticulously calibrated, resulting in looks that are discreet yet perfectly balanced.
The opening of the show immediately sets the tone for the entire collection: lightweight, voluminous trench coats layered over ultra-short dresses, barely-there culottes, and legs confidently left bare as the runway unfolds with assurance. Rider draws deeply from the brand’s iconic elegance, paying homage to its essence, something that feels tangible in every detail. Certain elements, such as the jackets, nod to the world of equestrianism, a recurring theme in the Maison’s visual vocabulary, though reinterpreted here with a metropolitan lens. For Rider, it’s a way to distill and simplify Celine’s message, making it more universally accessible. The iconic black dress reappears in updated, contemporary forms, with new cuts and distinctive accessories. While black remains an indispensable element of the Maison’s identity, the true innovation of this collection lies in the bold introduction of color: vibrant, daring prints paired with contrasting textures, from deconstructed leather to technical nylon and airy fabrics, that create a rich visual dialogue. Accessories take center stage. Beyond the aforementioned scarves, bags, including a new take on the Phantom, forge a link with Celine’s past, now reimagined for everyday use. Chains, charms, and oversized buckles elevate each look with carefully considered details that are never excessive.
Michael Rider’s Spring/Summer 2026 collection for Celine emerges from a vision that fuses simplicity and functionality, designed to meet the demands of contemporary urban life. Here, fashion is not mere appearance, but a language, one that accompanies the wearer in everyday moments, blending Celine’s signature elegance with tangible practicality: a refined yet accessible aesthetic. In line with this philosophy, Rider chose to present his second show away from the bustle of central Paris, opting instead for the Parc de Saint-Cloud, a true green oasis just beyond the city’s chaos. Within this calm and natural setting, he created an open-air runway that perfectly reflects the character of the collection: a harmonious balance between sophistication and wearability. The contrast between the city’s intensity and the park’s serenity mirrors the kind of balance Rider aims to strike in every garment: clothes that engage with the body, adapting seamlessly to different contexts without ever losing their identity. Through this scenographic choice, he underscores the idea that clothing should not be a purely aesthetic exercise, but something alive, something that exists within the rhythm of women’s everyday lives.
