Celine has always existed at the intersection of tradition and trend – but under Michael Rider’s direction, the Spring 2026 collection doesn’t merely walk that line; it strides it with confident, irreverent ease. In a coed runway show that felt like an Ivy League dream meeting a Rive Gauche rebel, Rider unveiled a wardrobe built on contrasts: maximalist and minimalist, nostalgic yet unmistakably contemporary. If fashion is a language, Celine now speaks it fluently in two dialects.
Rider’s American roots – his Ralph Lauren pedigree is now near-mythical – emerge in crisp, collegiate silhouettes: oversized rugby shirts, striped ties, immaculately pressed Oxford shirts layered under crewneck sweaters slung casually over the shoulders. But it all gets elevated by Parisian bourgeois restraint: silk scarves tucked under tailored blazers, pleated trousers worn with soft wrestling boots, and minimalist trenches that whisper refinement. It’s what happens when a model student from New England falls for a Saint-Germain gallerist – and raids her wardrobe.
In uncertain times, Rider responds with sartorial assurance: garments meant to endure, to be passed down, to become heirlooms. Camel coats with empire lines, ivory dresses with discreet chest pockets, sharply tailored longline blazers – these are the building blocks of a new generational wardrobe. In a season overwhelmed by fleeting micro-trends, choosing to invest in longevity feels quietly radical.
The runway erased gender boundaries with graceful precision. Men and women walked side by side, united by shared codes: collegiate blazers, colorful knits, slim tailoring. The menswear embraced a rakish dandyism – oversized fishing jackets, relaxed suits, boldly knotted scarves – while the womenswear danced between Philo’s refined minimalism and Slimane’s razor-sharp silhouettes. At Celine, gender isn’t a definition – it’s a styling choice.
If the clothes whisper elegance, the accessories shout personality. Elbow-grazing bangles, rings stacked by the dozens in primary colors, charm-heavy necklaces adorned with dice, Eiffel Towers, and Triomphe logos. Belts glint with silver buckles, silk scarves are tied at the neck, looped through belt loops, or left to float from handbags. And the bags? Enormous. From woven raffia baskets to glossy leather totes, Rider plays with proportions like a sculptor with clay – fearlessly.
Camel, ivory, black, and beige form the collection’s foundation. But jolts of kelly green, tomato red, cobalt blue, and aquamarine bring the runway to life. These bursts of color dance through accessories, ties, rings, and coat linings, revealed only in motion – an approach to styling made for those who appreciate the thrill of a well-kept detail.
For evening, Rider trades drama for quiet dazzle. Little black dresses dotted with jet beading, strapless sequined gowns, cropped tuxedo jackets – it’s elegance that doesn’t scream but still captivates. Even a black crochet gown, often associated with craft, feels unexpectedly refined – balancing romance with cool, contemporary edge.
Striking a delicate balance between heritage and innovation, Rider builds a collection that doesn’t reject the past, but rewrites it. There’s Philo’s essentialism, Slimane’s sharp silhouettes, and Rider’s own ironic preppy touch. But this isn’t a nostalgic collage – it’s a statement of intent.
