There are few maisons as aspirational as Celine. Through its different eras, the connecting thread between all visions has been just that: its ability to tap into not what people want, but what they need. And what we need is Michael Rider’s Celine. Fall/Winter 2026 was a perfect example of it.
Just shy of the anniversary of his first collection, Rider’s vision is crystal clear. Up until this point, it feels as if the American designer has been busy tidying up the house, showing us where all of its different eras fit in his take on Celine. We saw Hedi Slimane’s skinny jeans, Phoebe Philo’s quirks. Now that he’s proved he understands the vocabulary, he’s expanding it. His off-kilter brand of preppiness was all over, this time deliciously blended with a hint of the ’70s that (much like the music blasting out of Matéo Garcia–designed wood speakers) felt very rock. Enlarged, colourful floral patterns flooded two bell-sleeved knit dresses.
Interest was added through bright pops of red and furry animal prints, all of which added an electric eccentricity. Boys in skinny jeans donned feather headgear, one of whom was wearing a butter-yellow leather trench we’re still dreaming about. Bowler hats and perfectly circular glasses were peppered throughout the collection. A satin hot pink shirt paired with a full red look and a purple leather trench proved Rider remains a master of colour.
The everyday wardrobe was twisted just enough. Scarves were tied so high they almost blocked the vision. Two tight leather jackets – one a delicious brown, another silver – had murals carved in the back. Layered over the Prince music coming out of the sculptural amplifiers, Rider staged three ASMR opportunities: the first in a woven metal dress with an entire alphabet hanging off it, the second in a heavily sequined red dress, and the third in a skirt packed with oversized paillettes. Good fashion is heard as much as it’s seen.
Even in its most technically impressive moments, Celine is chic because it doesn’t emulate perfection. It’s reminiscent of the way a jumper is tied around the shoulders out of necessity, or how one would collect charms on a bracelet. Rider designs for the imperfection of human life. Heavy necklaces congregate seemingly random objects that look as if they were preciosities accumulated over a lifetime. In a season where we often saw patina sold first-hand, Rider offers something much less contrived: clothes we want to wear enough to gain it.
Words by Pedro Vasconcelos
