Celine: In the midst of a flood, Michael Rider opens with Poise and Panache

In a year of debuts, the new key entrance of this July was Michael Rider in Celine, where before a very edited audience within the company's headquarters, the American presented an excellent collection of excellent balance and style.

The house closed an entire block to 16 Rue Vivienne, where Celine is located, and left dozens of bicycles outside with new versions of the straw bags that Celine has made the success of this summer. But instead of a summer idyll, the skies open in a flood just when the show began.

The rider's invitation played in Heritage with a Fine Silk Foulard that many guests led to the show. Within the patio of Mansion HQ, the seat was performed in a simulated sandstone cut in the double giant C as the rider's predecessor, Hedi Slimane, had become a logo of that cult. A giant silk scarf, in a belt, tassel, tape print, hung on the guests. It would have been ideal to block the sun on a blue day of the sky, but it was completely useless to avoid rain, unfortunately.

Inevitably, there was a feeling of restoration on the program, since Rider had spent nine years working in Celine during the mandate of Phoebe Philo as creative director before leaving shortly after the arrival of Slimane. Michael later became the creative director of Ralph Lauren Polo for six years.

His opening looks was elegant but Kicky: a double chest bolero with sports harem pants; The first of many technological pencil pants combined with a piracy jacket cut for a Toff; o Manisno pisados ​​used with black puppy twin set finished with white contrast buttons.

All dramatically accessorized: multiple gold and seal rings; chains made in a multitude of links; Peppers in several forms made in primary, red or green blue.

In a mixed show, the rider wore the boys with power jackets; Giant rugby jerseys although made of puppy; A whole series of nylon -stretch -leg jodhpurs, which ripped about elements of the Flaca Celine silhouette of Hedi. And a quite divine dandy in parachute pants and white knit top with a gentleman, horse and carriage, playing with the equestrian heritage of the brand. Another reason why this was felt as a successful program: it was fresh, but familiar.

Clearly at ease with all the Parisian cosmopolitan appearance of the brand, Rider assumed many risks, from a small black dress made of thousands of labels with golden letters or the jacket of red shoulder jacket cut in the style of cocoon, or a rock skin jacket, with a golden sleeve worthy of a golden sleeve.

“I love where something useful and real meets something incredibly fascinating. That is the interesting thing about returning to Celine, turning around what the house is,” explained the post-show of the rider in silence.

“Celine means quality, actuality, style and timelessness …” It was the definition of the designer raised in Washington de Celine, before adding: “Then, we were thinking so much about the beginning of the company, since the nine wonderful years I was here, and then the last six years … part of what I would like to do is let it breathe again.”

Celine was founded by Céline Vipiana in 1945, growing to become a very respected niche brand prominent by her French fir style. In 1987, LVMH acquired Celine and began installing name designers, particularly Michael Kors in 1997. Although the brand accelerated both critically and commercially after the appointment of Philo in 2008. After their departure, unconditional fans known as “Philophiles” greatly rejected the attitude of Rock-N'Coll of their successors of their Slimane success. Some clients even organized simulated restoration lunches, even when Hedi organized their first show for the house behind Napoleon's tomb.

Then, today he felt like finishing a schism, presented on a humid Sunday, to capitalize the editors and customers who are in Paris for Haute Couture, whose season begins on Monday.

And ending the crack with Dazzle, because this was Celine's most colorful collection that this critic has seen in 35 years.