In a year of debuts, this July’s key new entry was Michael Rider at Celine, where before a tightly edited audience inside the company HQ, the American presented an excellent collection of great poise and panache.

The house closed a whole block at 16 rue Vivienne, where Celine is based, and left scores of bicycles outside bearing new versions of the straw bags that Celine has made this summer’s hit tote. But instead of a summer idyll, the heavens opening in a deluge just as the show began.
 
Rider’s invitation played on heritage with a fine silk foulard that many guests wore to the show. Inside the mansion HQ’s courtyard, the seating was done in mock sandstone cut into the giant double C that Rider’s predecessor Hedi Slimane had made into such a cult logo.  A giant silk scarf – in a belt, tassel, ribbon print – hung above guests. It would have been ideal to block out the sun on a blue sky day, but was utterly useless at keeping out the rain, sadly.

Inevitably, there was a sense of restoration about the show, since Rider had spent nine years working at Celine during Phoebe Philo’s tenure as creative director before he departed shortly after the arrival of Slimane. Michael then went on the become the creative director of Ralph Lauren Polo for six years.
 
His opening looks were all elegant yet kicky: a double-breasted bolero with sporty harem pants; the first of many tech-y pencil pants paired with a hacking jacket cut for a toff; or mannish pleated pants worn with black cashmere twin set finished with contrast white buttons.

Everything dramatically accessorized – multiple golden and signet rings; elaborate chains in a multitude of links; peppers in various shapes done in primary blue, red or green.

In a co-ed show, Rider dressed guys in power-shoulder jackets; giant rugby jerseys though made of cashmere;  a whole series of stretch nylon legging jodhpurs – that riffed on elements of Hedi’s Celine skinny silhouette. And a rather divine dandy in parachute pants and white knitted top featuring a gent, horse and carriage, playing on the brand’s equestrian heritage. Another reason this felt like a hit show – it was fresh, yet familiar.
 
Clearly at ease with the brand’s whole cosmopolitan Parisian look, Rider took plenty of risks, from a little black dress made of thousands of gold lettered labels or the cherry red drop shoulder varsity jacket cut cocoon style, or a micro lambskin rocker jacket, with one Centurion-worthy sleeve made of gold chains.
 
“I love where something useful and real meets something incredibly fascinating. That’s what’s interesting about coming back to Celine, turning around what the house is,” explained the quietly spoken Rider post-show.
 

“Celine stands for quality, actuality, style and timelessness…” was the Washington-raised designer’s definition of Celine, before adding: “So, we were thinking as much about the beginning of the company, as 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 well-respected niche brand noted for its spruce French style. In 1987, LVMH acquired Celine and began installing name designers, notably Michael Kors in 1997. Though the brand accelerated both critically and commercially after the appointment of Philo in 2008. Subsequent to her departure, hardcore fans known as “Philophiles” largely rejected the sharp-eyed rock-n’roll attitude of her successor Slimane. Some clients even staged mock restoration lunches, even as Hedi staged his first show for the house behind Napoleon’s Tomb.
 
So, today felt rather like ending a schism, presented on a wet Sunday, to capitalize on editors and clients being in Paris for haute couture, whose season begins Monday.

And ending the rift with dazzle, for this was the most colorful collection by Celine this critic has seen in 35 years.