Celine Reinvented: Michael Rider’s Daring Debut

The pressure of inheriting a legacy like Celine is not for the faint of heart. Just ask Jonathan Anderson, who recently took the reins at another heritage house and felt the white heat of industry scrutiny. But Michael Rider, Celine’s newly appointed creative director, stepped into the spotlight with a level of conviction that instantly silenced any whispers of doubt. His debut collection was not a reset. It was a revelation. A confident new vocabulary of menswear that honored the house’s codes while steering it boldly toward modernity.

From the moment the first model hit the runway, Rider made his intent clear. A camel trench coat swept the floor with quiet authority, layered over an inky black suit and high white turtleneck. Draped across the shoulders was a sculptural red sweatshirt, more gesture than garment. The look was completed with glossy loafers, white socks, and a structured monogram tote. It was a masterclass in balance, fusing severity with softness, tradition with bold punctuation.

Just as quickly as the mood had been set, Rider shifted gears. A model in a crisp white CELINE PARIS tee and pleated trousers strode out, sleeves cuffed and belt cinched high. A black leather duffel was slung over one shoulder and a jacket casually carried in hand. With wire-rimmed glasses and a single talismanic necklace, this was intellectually cool. It spoke of poetry readings and art school critiques. The simplicity was intentional and surgical.

Tailoring, of course, remained a dominant force throughout. One standout featured a double-breasted stone blazer worn over a butterscotch polo and soft charcoal trousers. The jacket was slightly oversized but never sloppy, the proportions razor sharp. It was the kind of look that could just as easily be found in a Parisian café as at a New York design firm. With white sneakers grounding the look, it felt effortless and precise, an emblem of the understated power Rider is beginning to own.

Rider’s understanding of layering came alive again in a black double-breasted coat paired with vibrant geometric tights in shades of cobalt and cherry. A bold silk scarf was tucked neatly under the collar, suggesting a playful twist on the traditional ascot. It was daring but not theatrical, styled with such finesse that every detail felt essential. This was not eccentricity for show. It was a declaration of identity.

Color continued to pulse through the collection in controlled bursts. One look combined a crimson blazer with a striped shirt and wide-leg faded jeans. It captured that elusive preppy edge Celine has always flirted with but never fully embraced. Rider gave it a new authority. The jeans were worn with the right amount of insouciance, and the striped tie added an almost rebellious nod to uniform dressing. It was collegiate, yes, but with a cigarette behind the ear.

A black oversized rugby-style sweater with a vivid orange stripe across the chest was another standout. Styled with a white turtleneck, black trousers, and penny loafers, it offered a nod to sport without being sporty. The silhouette was graphic and architectural, with a monogram weekender in hand that added just enough weight to ground the look in luxury.

Then came a red leather jacket so vibrant it seemed to vibrate against the neutral runway. Cropped and puffed at the shoulders, it was layered over soft khaki trousers and accented with a green and blue scarf. The color blocking was controlled and deliberate. Rider understands how to make volume and hue work together to sculpt movement, not overwhelm it. This was a look that turned heads without ever begging for attention. He brought that same control to softer silhouettes. A cream knit emblazoned with the Celine horse and carriage logo was tucked into high-waisted silk trousers in ivory. With lace-up boots and circular sunglasses, it gave the impression of a Parisian aristocrat who spends weekends at the stables and weekdays at the Louvre. The styling was romantic and refined. Every piece seemed to float.

Texture and movement were essential throughout. A bright turquoise sweatshirt was layered over a leather jacket tied across the waist, creating visual disruption in the best way. Paired with wide-legged trousers and white sneakers, it was urban and athletic, but always with Celine’s inherent polish. Another model walked in a slouchy cherry red V-neck sweater over a bright white turtleneck. The styling was finished with black flared trousers and a layered necklace of talismans and keys. The look felt like a modern-day poet crossed with a jewelry designer, someone who lives between ateliers and antique markets.

Michael Rider’s first collection for Celine is not about chasing trends. It is about asserting a point of view. It is about masculinity with grace. About tailoring that does not rely on sharp shoulders alone but plays with fluid lines and bold color. About accessories that complete a look rather than distract from it. This was not just a collection. It was a portrait. Of a new man. Of a new Celine. Of a house ready to look forward. With this show, Michael Rider did not just introduce himself. He offered a vision. One grounded in intelligence and elegance. One unafraid of glamour. One that refuses to whisper when it can speak with clarity. Celine is in excellent hands. And this is only the beginning.

Other Articles Written By Dean Hall:

• Saint Laurent Fall 2025: A Masterclass in Power Dressing with a Dose of ’80s Drama

• Traveling in Style with Holiday Luxury for the Modern Gentleman

• Matthieu Blazy’s Triumph: From Bottega Veneta to Chanel