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“I think it’s going to be a hit,” Sidney Toledano, senior advisor to LVMH chair and CEO Bernard Arnault, tells Vogue Business. “Michael is comfortable in Paris; he understands the Parisienne, but an international Parisienne.” On the playful use of the logo, Rider said: “ A sense of levity and humour is sorely missed in fashion. I would never want to be perceived as ironic or cynical, but having a sense of humour in the space of luxury is a beautiful thing. Logos are something from the ’60s and ’70s that Madame Vipiana used frequently in a way that was always chic. I like what logos do because they move from really tasteful to very different from that.” “Michael Rider presented a collection that is in line with the house’s DNA, keeping Hedi Slimane’s purity while evolving it, adding colours — blue and red — and developing accessories — jewellery, scarves, bag charms,” says Arthur Lemoine, head of buying at Galeries Lafayette. Benjamin Simmenauer, professor at Institut Français de la Mode in Paris, agrees: “There’s a play on proportions which results in many varied silhouettes, but all united in an effortless attitude that works well, like in the opening look and efficiently conveys the ‘cool bourgeoise’ identity of Celine. There’s something with branding, too, an intentional pastiche that’s playful. I hadn’t seen such creativity and risk-taking coming from a megabrand in a long time: some looks feel ‘off’ but in a good way.”Officials 2025 Clash Champs Virginia Cavaliers Beat Virginia Tech Hokies Premium Shirt
Become a Vogue Business Member to receive unlimited access to Member-only reporting and insights, our Beauty and TikTok Trend Trackers, Member-only newsletters and exclusive event invitations. This couture week will see the early results of the designer musical chairs we witnessed in the past year. After yesterday’s Celine show marking the debut of creative director Michael Rider, all eyes will be on Demna’s final show at Balenciaga before he moves to Gucci and the debut of Glenn Martens at Maison Margiela. The eve of couture week has been a sought-after slot for brands for some time now to show their ready-to-wear, and this Sunday was no exception: after the Celine show, where Rider impressed by keeping the spirit of the brand while offering new shapes, there was the Patou show titled “Joy” as a nod to house founder Jean Patou’s heritage, with Susan Sarandon, Elizabeth Olsen and Diane Kruger in attendance. This was followed by the Bal d’Été of the Musée des Arts Décoratifs (MAD), a fundraising gala on the occasion of the centenary of the 1925 International Exhibition of Modern Decorative and Industrial Arts. Sofia Coppola was the artistic director, and L’Oréal board member Jean-Victor Meyers presided over the gala’s honorary committee. What is bound to be dubbed the “MAD ball” will return in 2027.
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