Celine is Revising the Preppy Handbook

Artistic director Michael Rider elaborated on the French-yuppie vibe he presented in his inaugural collection in July.

Courtesy of Celine

Michael Rider is executing his vision for Celine with remarkable speed. The previous creative director of Polo Ralph Lauren was appointed as Hedi Slimane’s successor about a year ago; yet, his initial two presentations have now occurred in quick succession. His inaugural collection may have only been showcased on the runway during couture in July, yet it has already reached select retailers in the week prior to today’s summer 2026 presentation. Numerous prominent companies want to rapidly engage their clientele; Gucci exemplified this with Demna’s inaugural collection using a see-now, buy-now strategy, available in stores the day following its Milan Fashion Week showcase. Attention spans have diminished significantly, and this method capitalizes on that phenomenon. Rider has undoubtedly capitalized on the opportunity to enhance his codes in a matter of months.

The current collection seamlessly extends the July runway show, like a chapter without a definitive conclusion, but rather a gradual summer interlude, a sentiment reflected in the designer's show remarks. He utilized a scarf as the invitation once more. The consistent stylistic and explicit allusions to his predecessors (and past employer) persisted as the central theme. Upon further examination, the diminutive babydoll dress's flowery pattern evoked a comparable design from Philo's final collection, as did his leopard-print reference to the frequently replicated pink draped dress from that period.

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Riding helmets reemerged, and scarves were plentiful. Although style remained central to the designer's philosophy, the ensembles appeared less burdened with layers this time. There were no heavily applied embellishments present, but rather a more sophisticated color scheme: envision a coral necklace contrasting against a blue button-down shirt.

There was far less formalwear, which Rider hinted at in July, possibly leaving us with anticipation for March. A purple sequined turtleneck dress gleamed like a crown jewel amidst a collection of casual outfits; however, paired with Lennon sunglasses and understated leather sneakers, it seamlessly complemented his youthful nonchalance. It embodies a quintessentially French essence, yet possesses an American nuance, reminiscent of a college acquaintance who was raised overseas. She possesses multiple passports, which contributes to the intangible global allure of Rider's styling.

After merely a few months, Rider is progressing rapidly. His artistic path unequivocally demonstrates his confidence in the universe he is constructing, partly due to the identity he is engaging with, which reflects his own transatlantic experience. His American aggression is tempered by the softer nuances of French style. Similarly, he navigates the influence of his Parisian residence—occasionally to the extent that one may question if he would indeed feature a beret on the runway—while his distinctive preppy aesthetic resurfaces. Rider is relishing the exploration of that equilibrium.