by With his debut collection for Celine, Michael Rider delivered a master class in modern dressing: viewed, confident and easily grounded. The show marked a return, yes -the Rider had previously worked in the house during the Phoebe Philo -era -but everything felt new and correct in the best possible ways. It was about pieces. Perfect pieces. Sometimes newly introduced. Built clothing for wardrobes, not just a runway.
It is the kind of attraction that instinctively feels effortlessly and undeniably polished. A shabby shoulder jacket that was suffocated in the waist perfectly above a white turtleneck and a silk blouse with golden buttons. Not tied, but draped – intentionally, effortless. Shirt cocks left out, collar are used up. Rings that are stacked on every finger in mixed metals and gold stamps stacked on every finger, interrupted by colors, colorful dome -made pieces. Looks with precision: a Kelly Green Blazer, a shortened red rope and a blue oxford that was layered into a nod to prepare, perfectly with a soft, butter yellow boot. Straw bag, carried into the evening with ease.
Everything looked precisely and curated, but portable – a distilled processing of everything you need, but contracted to give each piece a newly discovered energy. Croched barrel-leg jeans with a crispy middle fold felt like a new everyday uniform piece that was completed with a fresh view of the logo and was finely etched with “Maison Celine Paris”. (I’m obsessed.) White dance shoes have grounded many looks. Soft balloon-shaped folds, which were tied up and tied up properly, were worn with a sock or hidden in a box boot. A solo black Perfecto jacket that has arrived on the front in the waist with golden wheat pens. Thick golden chain members nod with stimulus – bik locks, hearts, keys and email horns – and were recognized as layered necklaces and bracelets. Every piece, immediately nostalgic and new, felt like the perfect last touch – and undeniably personal. Then the oversized rugby shirts – the boys were designed, but were designed for everyone.
Rider’s eye for the epitome – and his instinct to mix these parts with such skill – is unmistakable. It is the type of collection that stays with you long after the end of the show. I don’t just admire it – I want everything.
Enchanted and stacked
Big gold-link charm bracelets with coins, hearts, bicycle locks and Celine signatures for a personal statement look. Rings in mixed metals with signet and dome melt pops made of green, cobalt, red and pink.
The graceful drape
Strong silk scarves were not tied to the neck, but gracefully draped and clogged in a jacket – an elegant new setting to the scarf dressing.
Gentle barrel jeans
With a shaped curve and a crispy middle fold, these jeans cut just correctly and exactly.
Masterfully layered
The white turtleneck sweater is the focus, perfectly under a winged jacket, a silk button button button and an effortlessly bound Schalchemise.
Cocks out
A crispy Oxford tail scouts under strong blocks from Kelly Green, tomatoes and cobalt. What is normally considered unpolished here feels completely intended. It is a lightness with precision in which the magnifying glass is done exactly.
Folds perfected
Volume with control, just right or embedded in a box boot and finished with a gold binding block or a flash of a white sock.
Soul
Maxi dressing, minimal exertion: a piece of clothing meets the simple tilting with white leather and a straw hat.
Preparatory school
Oversized color blocked rugby shirts and a red sweater over the shoulders offered a fresh nod to the classic preppy chic.
Shoulder
A classic, newly stuffed: The cardigan gets a polished update with a series of shiny closures and a shoulder -free ease.
Chic, sharp and double tinkered
With exquisite gold wheatbroaches, suffocated on the waist or completed with an oversized luggage belt, the black coat receives a chic update.
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