Paris Fashion Week: At Celine, Michael Rider’s bohemian flair takes center stage

The last guest to arrive at the Tennis Club de la Porte de Saint-Cloud this Sunday at noon, Oscar Isaac certainly didn’t go unnoticed, cutting through the backdrop of scaffolding and white panels in a deep purple shirt. Once the Hollywood actor had taken his seat, the piano chords and bass lines could begin for Michael Rider’s first all-male show at the helm of Celine.

While that same shade of purple appeared early on in his Spring/Summer 2027 silhouettes —here on an obi belt, there on a loose-fitting overshirt, or even on a sleeveless T-shirt and an oversized leather bag—the American designer quickly drew the audience into his delicate world.

This was no small feat, as the designer took over as creative director of the Parisian brand in 2025 after leaving Ralph Lauren, facing a major challenge: navigating the economic climate that demands commercial efficiency while balancing the two ever-present legacies of his predecessors. On one hand, Phoebe Philo (with whom he worked for a decade); on the other, Hedi Slimane, whose last men’s show in Paris took place in February 2023, celebrating the “Palace” years with his ultra-slim silhouettes.

In his creative statement, rather than long-winded tirades, Rider offered words and snippets of phrases: “Travel light,” “Make do with just a few exceptional pieces. CUSTOMIZATION,” “The realm of possibilities”… These are the mantras for this collection, dubbed “Tough and Tender”. Faced with the challenge before him, Rider has certainly taken his own words to heart: “Be yourself; follow your own intuition.” A commitment that has allowed him to craft a rich, diverse wardrobe brimming with details.

The designer, whose first women’s collections have already delighted fans of a certain Parisian chic, made a statement with this men’s collection—sensitive, at times flirting with androgyny, and highly personal. Here, the designer skilfully broke free from the influence of his illustrious predecessors. His silhouettes were slender: sleeveless tops in delicate knit, satin shirts, and lightweight wool pieces were worn close to the body. Slim-fit pants featured prominently in many looks, but without ever veering into a rock-inspired skinny style.

Above all, the collection flowed seamlessly thanks to oversized summer coats and precise tailoring accents, featuring exaggerated shoulders and wide-leg or carrot-cut pants in luxurious fabrics. The American asserted his own style. His philosophers, artists, and poets were sometimes adorned with strange leather accessories, dressed in long gabardines, luxurious capes, and roomy trench coats. They walked down the street wearing a simple carmine red or soft green top, paired with straight-leg pants, three-quarter-length pants, or even capri pants, a leather-bound book in hand. Some opted for statement pieces, such as yellow pants adorned with black circles. Others—young bohemians—preferred baggy pants with a subtle tie-dye effect at the waist, worn with oversized sweaters or fitted blazers.

Virtually every look benefited from meticulous attention to detail and was enhanced by small touches: here a red leather pouch, there a fabric flower pinned to the belt. Leather bags came in all sizes, while the selection of shoes ranges from a reinterpretation of Reebok Classics to white cowboy boots, as well as sophisticated sandals and mules. The designer incorporated a variety of earrings, brooches, belt accessories, sunglasses, and gloves, right down to enormous beaded necklaces spelling out the word “Celine.”

From rich fabrics to the addition of fringe or scarves, each look reflected a rare level of sophistication. This more than justified Rider’s final bow; as he stepped forward to express his gratitude amid thunderous applause, he took his leave with a simple, humble wave of the hand. This Sunday, he undoubtedly lived up to one of his key phrases: “Panache. And being completely unaware that you have it.”