The Celine Spring-Summer 2026 collection unfolded beneath the soft light of the Parc de Saint-Cloud, far from the polished interiors of Paris Fashion Week. Michael Rider, now confidently at the helm of the fashion house, chose to stage his coed ready-to-wear show outdoors – a decision that felt like a breath of fresh air in more ways than one.
The American designer wanted the audience to leave the city behind for a moment and experience Celine in a new way. The location, set among leafy paths and open skies, mirrored Rider’s approach to fashion: clear, direct, and quietly elegant. This season marked Rider’s first major ready-to-wear outing since joining the house, following his debut resort presentation in Paris. Now, he seemed ready to reveal the full scope of his vision.
The collection reflected both respect and renewal. Rider drew from Phoebe Philo’s confident femininity and Hedi Slimane’s sharp, youthful silhouettes, weaving those references into a wardrobe fit for modern life. He didn’t erase the past; he refined it. There was a sense of continuity and recognition that Celine’s essence -its precision, utility, and understated chic – remains intact.
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The show opened with crisp mini dresses in tweed and daisy print, styled with matching undergarments that referenced a ’60s aesthetic without slipping into nostalgia. Then came the tailoring: navy blazers, peg-top trousers, pleated chinos, and equestrian-inspired pants that confirmed Rider’s instinct for structure and simplicity. The looks carried an ease that never drifted into indifference. Jackets rested naturally on the shoulders, and trousers framed movement rather than restricting it.
Scarves, long seen as symbols of bourgeois restraint, found new freedom. They appeared as rugby shirts and were tied casually around necks or transformed into slouchy handbags. This subtle play on classics defined Rider’s approach: pieces meant to be worn, not overthought.
Menswear stood strong beside womenswear – something few unisex collections manage with such natural cohesion. The men’s looks—slim trousers, crisp shirts, and light jackets – exuded a quiet sophistication that felt both Parisian and international. Rider’s background at Polo Ralph Lauren was evident in his disciplined cuts and attention to daily wearability.
Eveningwear introduced a touch of daring. Black silk tops were paired with high-waisted equestrian pants and bubble dresses in taffeta, bringing refinement without theatricality. It was elegance for people who live, not pose.
The final touch of the show—the Celine bicycle helmets carried nonchalantly by the models – captured the designer’s message. Today, Paris moves on two wheels, and Rider designs for that energy: freedom, movement, and a certain ease that doesn’t try too hard. “Celine isn’t about being the most extravagant person in the room,” he remarked backstage. “But hopefully, you have the best coat.”
