Celine Cruise 2026 Paris

[Lola701]

While most of the collection’s tailoring was focused on the wide shoulders (which is in fact more Ralph Lauren than Phoebe in most of the looks) and that the blazer on Mica is calling my name, the shoulders on the more fitted, « normal » blazers are perfect!

It’s so funny to see how so many bourgeois elements were incorporated in this.
Beyond the foulards/carrés, it’s really the sweaters over the shoulders, a black suit with a red/blue stripes tie, even the sous-pull trick that we haven’t seen since NG’s debut at Vuitton a decade ago… Those very loud shots of colors. It brought back memories of women and men I often seen during my childhood/teenage years.

And it’s weird because the allure of very Rive Gauche but some elements are very 16th arrondissement.

I understand why this aesthetic can be tiring. We are coming of a decade of dominance of Phoebe’s aesthetic and while we had a brief Demna interlude, it seems like with all her alumni, that aesthetic won’t go away.

Basically, most of people now who are at the helm of important Parisian or Italian fashion brands were either at one point part of Phoebe or NG’s studio. In one way it’s a testament to them but it’s also a danger.

I think that Rider had every right to reclaim that Heritage at Celine, much like Phoebe has every right to reclaim her own heritage.

I hope that those who were just followers of that wave (Proenza Schouler and Louise Trotter for example) will bring enough personality of their own to not blend. Ok Daniel Lee, Matthieu Blazy, Michael Rider speaks the same language but there have different accent and the brands they are working for have kind of strong elements to rely on but for Loewe and Bottega Veneta, you can’t do French bourgeois, English country side or Parisian Couture. You need more cultural depth.


I’m waiting for the resort shows and the S/S shows to confirm this but it seems like with Dior and Celine (at least), the respond to the crisis is bourgeoisie…Or at least, something easily understandable, identifiable and a bit of a « valeur sûre ».

I don’t necessarily think it’s safe. I think it’s pragmatic. Because designers essentially don’t design in an ivory tower.

I’m interested in seeing where this goes. I think a question is if a house has to show a major shift everytime there is a new cd. Celine is not and was not in need of an overhaul. He is smart to not try to curate the same coolness that hedi brings

I think that essentially major shifts aren’t needed. Even more when you trying to create a brand that will be an umbrella for different categories of products.

And I have said it in another thread but Hedi was clever to back peddle on the groupie/rock chic aesthetic of his debut collection. Because Celine stands for something. Yes the interpretation can be different with every CD but Celine, without having being a leading voice in fashion, has always stand for something.

I guess before we never realized that it was damaging because it happened to houses nobody cared about like Rochas, Ungaro, Azzaro. But the Ancora drama showed that when on the hands of lesser talent, it can have terrible results.
At Dior, Bill Gaytten didn’t destroyed the house.

 

[Living Proof]

While most of the collection’s tailoring was focused on the wide shoulders (which is in fact more Ralph Lauren than Phoebe in most of the looks) and that the blazer on Mica is calling my name, the shoulders on the more fitted, « normal » blazers are perfect!

It’s so funny to see how so many bourgeois elements were incorporated in this.
Beyond the foulards/carrés, it’s really the sweaters over the shoulders, a black suit with a red/blue stripes tie, even the sous-pull trick that we haven’t seen since NG’s debut at Vuitton a decade ago… Those very loud shots of colors. It brought back memories of women and men I often seen during my childhood/teenage years.

And it’s weird because the allure of very Rive Gauche but some elements are very 16th arrondissement.

I understand why this aesthetic can be tiring. We are coming of a decade of dominance of Phoebe’s aesthetic and while we had a brief Demna interlude, it seems like with all her alumni, that aesthetic won’t go away.

Basically, most of people now who are at the helm of important Parisian or Italian fashion brands were either at one point part of Phoebe or NG’s studio. In one way it’s a testament to them but it’s also a danger.

I think that Rider had every right to reclaim that Heritage at Celine, much like Phoebe has every right to reclaim her own heritage.

I hope that those who were just followers of that wave (Proenza Schouler and Louise Trotter for example) will bring enough personality of their own to not blend. Ok Daniel Lee, Matthieu Blazy, Michael Rider speaks the same language but there have different accent and the brands they are working for have kind of strong elements to rely on but for Loewe and Bottega Veneta, you can’t do French bourgeois, English country side or Parisian Couture. You need more cultural depth.


I’m waiting for the resort shows and the S/S shows to confirm this but it seems like with Dior and Celine (at least), the respond to the crisis is bourgeoisie…Or at least, something easily understandable, identifiable and a bit of a « valeur sûre ».

I don’t necessarily think it’s safe. I think it’s pragmatic. Because designers essentially don’t design in an ivory tower.


I think that essentially major shifts aren’t needed. Even more when you trying to create a brand that will be an umbrella for different categories of products.

And I have said it in another thread but Hedi was clever to back peddle on the groupie/rock chic aesthetic of his debut collection. Because Celine stands for something. Yes the interpretation can be different with every CD but Celine, without having being a leading voice in fashion, has always stand for something.

I guess before we never realized that it was damaging because it happened to houses nobody cared about like Rochas, Ungaro, Azzaro. But the Ancora drama showed that when on the hands of lesser talent, it can have terrible results.
At Dior, Bill Gaytten didn’t destroyed the house.

I actuallly thought the intentional big & narrow shoulder contrast in tailoring was a pretty Phoebe move, she would go from very wide to very narrow in her 17-18 Céline collections.

 

[Lola701]

I actuallly thought the intentional big & narrow shoulder contrast in tailoring was a pretty Phoebe move, she would go from very wide to very narrow in her 17-18 Céline collections.

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Yes totally and in a way, he came back to what he left at.
But in the menswear, for example the shoulder is very Ralph Lauren. That’s why maybe I feel like his proposition is more believable than what Vaccarello is trying to do with Big shoulders at YSL every season with men.

But I feel like this collection has a lot of range. Fitted silhouette reminiscent of Hedi, some stuff reminiscent (of his work) of Phoebe and a touch of Ralph.

The opening look has totally the cut of the second suit you showed. With that kind of « flat » garment Margiela-esque influence.

 

[PierreGotha]

If Phoebe and Hedi went for a chess match and left in the middle of it, leaving everything in suspense and with no clear winner. That is exactly what this collection feels like. A mix of Phoebe's late 2010s collections and Hedi's Styling tricks.

Great showcase of bijoux and silks; however, the bags and leather goods are indeed Phoebe nostalgia.

I'm concerned that If Loewe debuts its new collection with Jack McCollough and Lazaro Hernandez will we ever distinguish the two houses in the long term?

 

[Squizree]

I really enjoyed it. It feels very fresh and modern. The accessories, especially belts and shoes, were the winners.

I think it's unfair people are holding him to somebody else's standard. This collection is still fantastic in its own right and I don't think he owes anyone the responsibility of 'continuing' Hedi's legacy or something. Definitely lots of Philo and Ralph Lauren flavors in there.

That said, I DO agree with the note that it feels chaotic. I'm definitely getting the impression of "throw dirt at the wall and see what sticks". But I actually think it works in his favor because it gives the collection some nice kitsch (an NO, that's not an oxymoron).

 

[MModa]

Too many looks in the show but it is not a bad collection. I already miss Celine by Hedi Slimane both on the runway and on Celine's social media.

 

[PierreGotha]

I'm hoping his sophomore and third collections will have more clarity. This debut feels like a test run or a demo.
It's not entirely deplorable nor inventive. It's palatable and eye-catching, enough to appease LVMH and potential new buyers.

 

[QuantumCouture]

I see the spectre of 1977, 1983, and 1992 stalking the runway. Rider is smart: he respects the stage Slimane built for Celine, but refuses to play only the greatest hits. Look 1 is a warning sign: once the model starts moving, the blazer betrays a mass-produced luxury construction.

 

[dancv]

Awful collection, but LOVED the styling. I’m a sucker for the 70s/80s NatGeo photographer on a field assignment on some of the looks.

 

[helmutnotdead]

well well...

First of all I'm realizing at this moment after watching the video that we all should -or just me- low our expectations when it comes to fashion and debuts. We're going to have a huge amount of new perspectives coming next season -I think I lost the count but it's 12 or something like that. but I'm afraid that we're not going to witness something like Céline SS 2010 or Dior HC FW 2012 or even Balenciaga FW 2016.

I am saying this because after the high expectations I had for three designers -Peter, JW and now Michael- I just feel...indifferent. The collections are not remotely bad but everything felt so merchandised.

What's the point of having 76 for Resort? A few looks were absolutely stupid: the big polo crew with jeans and a bag... why do you need to put such irrelevant outfit on the runway? why so many logos? Ok we all get you're working for a conglomerate but you don't have to be that obvious. And while I get why it feels so American, I don't see the purpose. Phoebe delivered collections that felt quite universal and that's why she made such an impact on the industry.
Yes, I know it's a resort show and the dude is talented but I demand more. I really really hope he will find a stronger voice and better ideas in the next two years otherwise it's going to be like someone said: another Parisian brand who nobody cares about.

ps: truly TRULY wonderful pants and jackets. these are going to be a hit!

 

[jeanclaude]

I will never understand what´s the point of hiring a new designer, just to make exactly the same stuff the last two designers were making (and better than the new one) .

 

[susseinmcswanny]

I’m running out of Rimbaud at now will be calling Donald Trump because why the f*ck have the prices of the fragrances increased so much? Two 15 mL travel sprays is $130, 100 mL $330, and 200 mL $475 ???? You people need to get a JOB and STOP f*cking around for no reason. I guarantee your dad still isn’t proud of you. Get OVER yourself

 

[Deneuve]

everything all over the place at once. got a light headache while scrolling through it
bags, shoes, scarfs, prints and the colors are his weakest links. the long coats for men and women are nothing new, but really chic
most of the jewelry, the patchwork leather bomber, the suede barbour copy and the belt with the big golden plate will be bestsellers
anyway...this two looks of the womenswear I liked the most

 

[vetements]

I think everyone has mostly said whats on my mind. It has elements from a few designers, past and present ie trying to do many things all at once and the results turned out to be a bit lacklustre than expected. I had rather see an honest Ralph Lauren offering but that would not justify hiring him I guess? People want to see surprises, these are surprises but not in a good way sadly.

I especially dont feel the menswear so am surprised how some feel they were good, not that red big leather jacket, not those skinny piped trousers.

But all said and done, even if I dont like what I see on the runway, I am pretty sure it will sell, at the shops we are likely to see stuff easier on the eyes and cater to most tastes.

Celine and Dior are both major houses under LVMH, both with a big mission to sell, sell, sell!
Just that I definitely prefer JWA`s take on DIor than this. and hey, Hedi`s debut wasnt exactly well received commercially as well, so we will never know!

 

[GivenchyHomme]

It's a hot everything but the kitchen sink mess. BUT, at least he went all out. Now that he showed he understands the legacy left behind by Phoebe and Hedi, hopefully he will begin to write his own chapter for the brand. With the Proenza Boys cosplaying as Peak Phoebe over at Loewe, he’s got his work cut out for him if he wants to stand out.

 

[tricotineacetat]

Phoebe Celine era blazers/sartorial based pieces were done by Caruso the Italian menswear tailoring factory that produces tailoring for Ghesquiere's LV women's sartorial blazers, Stefano Pilati YSL, Brioni as well as others. Maybe Hedi changed suppliers in his era?
Perhaps it's more about preference of silhouette? Hedi's was more classic archetypal bases (tuxedos, rock attitude blazers but with shorter sleeves and tight armholes, or prince de galles easy blazers a bit 70's cut more to wear with a high waisted jean for a paris mum in her 30's to maybe take her daughter to school).
Phoebe's were probably more challenging for a wider general audience, often having wider shoulders with a more nipped in waist slightly redingote profile for more of a woman who might follow fashion closer.
Just different types of women that appreciate both - Different strokes for different folks!

Interesting to hear since Caruso used to be the manufacturer of Dior Homme in the first place, with Lanvin Homme under Lucas Ossendrijver and Cerutti under Nicolas Andreas Taralis producing theirs', too. That in itself should not come as a surprise as both designers before assisted with Hedi Slimane at Dior.

Pilati’s YSL did not work with Caruso though with Hedi mentioning in the one lengthy interview about his Saint Laurent gig that the tailoring quality wasn’t up to his expectations of cut and construction. Though I believe Saint Laurent produced their tailoring with Zegna if I’m not mistaken…?

Either way, when it comes to the real character of tailoring, it’s all about the cut and canvassing - By which I can tell blind, what an Hedi suit is and how it feels on. There is a particular shoulder with Hedi as well - Unfortunately Michael Rider took only but one jacket that was clearly still in the façon of Hedi’s tailoring and otherwise put all these large-shouldered coats and blazers with hourglass waists, which looked everything but chic and timeless…

 

[tricotineacetat]

I actuallly thought the intentional big & narrow shoulder contrast in tailoring was a pretty Phoebe move, she would go from very wide to very narrow in her 17-18 Céline collections.

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The jacket in the first suit gives me a headache - I understand the fit and drape is intentionally as it is, but it just looks so unrefined, I cannot! 🫣

 

[style_expert]

I'm genuinely surprised by how bad this is. It's nothing more than an over-the-top merchandising display, ruined by questionable styling. A lot of it just feels completely wrong — but the shoes that say CELINE on one foot and PARIS on the other are downright unforgivable.

 

[oioioi]

Either way, when it comes to the real character of tailoring, it’s all about the cut and canvassing - By which I can tell blind, what an Hedi suit is and how it feels on. There is a particular shoulder with Hedi as well - Unfortunately Michael Rider took only but one jacket that was clearly still in the façon of Hedi’s tailoring and otherwise put all these large-shouldered coats and blazers with hourglass waists, which looked everything but chic and timeless…

For sure Hedi's fit is recognisable and has a universal appeal as well as for followers of his work.
Both are valid for different reasons, I would say Phoebe's tailoring silhouette is just as recognisable to those who like hers.
Hedi's armholes make you stand up in a stricter way because of how cupped and high they are, stylistically for me feel more of a general day uniform blazer in its classic mens tailoring rules. Phoebe's tailoring is about structure vs lightness (other than her first few seasons at Celine) both in silhouette development and classic rules of fully canvas. They're just different but I understand from the pictures, styling Michaels appears more sloppy.
I'm sure we will see Hedi back soon somewhere he can also create his own brand a la Phoebs if he wanted to.

 

[tricotineacetat]

For sure Hedi's fit is recognisable and has a universal appeal as well as for followers of his work.
Both are valid for different reasons, I would say Phoebe's tailoring silhouette is just as recognisable to those who like hers.
Hedi's armholes make you stand up in a stricter way because of how cupped and high they are, stylistically for me feel more of a general day uniform blazer in its classic mens tailoring rules. Phoebe's tailoring is about structure vs lightness (other than her first few seasons at Celine) both in silhouette development and classic rules of fully canvas. They're just different but I understand from the pictures, styling Michaels appears more sloppy.
I'm sure we will see Hedi back soon somewhere he can also create his own brand a la Phoebs if he wanted to.

What I found perplexing with a lot of designers both from the Philo universe or inspired by her tailoring is how 'cemented' the result looks in the tension between the structured, partial canvassing still used for this style of exaggerated tailoring in the past 10-15 years that’s been so popular with fashion-forward customers.

People like Yohji, Dries or Jil Sander have always had oversized suiting in their repertoire but usually with a more deconstructed lightness that was giving more ease and effortlessness - By comparison I look at a lot of Philo-esque brands and the impression I’m getting is as if a nasty Hugo Boss men’s suit jacket from the 80ies was fitted on a woman.