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Although fresh talent at Chanel and Dior sparked significant buzz during the current Paris fashion week, it was the inaugural presentation from the iconic brand that truly captivated the media spotlight. The show featured a unexpected guest: Meghan, Duchess of Sussex, making her initial European outing in a three-year period.

On Saturday night in the city of lights, the razzle-dazzle of other major houses – plus Lauren Sanchez – paled in comparison with the sheer impact of the Balenciaga event.

Meghan added immense star power to the fashion event.

Until that moment, the overall atmosphere surrounding the designer's first show had been quite calm. The fashion house is a venerated institution, and the designer is universally praised as a master of his craft. Additionally, he is beloved for his reputation as the nicest man in fashion. It was widely believed that extravagant catwalk stunts had left the brand's identity with the departure of the edgy designer Demna to another luxury house. But, even the nicest guys can deliver surprises, and the presence of a duchess greatly increased the overall excitement.

The designer considers himself an design visionary, crafting forms that do not contact the wearer's physique.

Intriguingly, the central theme of what he called his manifesto, as he explained it backstage, was female emancipation. His primary reference was the revolutionary 1957 design by Balenciaga, a silhouette that maintains distance from the body, avoiding emphasis on nor restricting a natural body shape. According to Piccioli that this look was a powerful manifestation of a shifting zeitgeist that was starting to transition from the conservative norms of the 1950s towards the liberation of the 1960s. This was focused on advancement for females. It liberated women from the burden of garments that emphasize the physical form and focus on their anatomy. That garment allowed women to move freely.”

Balenciaga’s most iconic silhouettes were included in the show, such as this ‘cocoon’ coat.

Garments that maintain their own shape are central to the the brand's ethos. Piccioli equated this approach to design to being an structural designer: building forms that do not touch the body, while constantly considering the people who will occupy these creations. The original designer was obsessed with the physique and with materials, and with a additional component – the space in between.”

First onto the catwalk was a modern reinterpretation of the iconic dress, lengthened to an ankle-skimming hem, accompanied by opera gloves – but also with distinctive eyewear that acted as a clear homage to the apocalypse-chic of the brand's recent past.

He, who at fifty-eight sports strings of beads and charms and radiates an air of hippie-ish serenity, rejects the idea of seeing fashion as an ego battle. He believes that it is “cooler” for fashion artists to respect each other’s talents. The creative director expressed that he was hoping for a “reconciliation” between the haute couture heritage of the brand, and its more modern casual influences. The brand's legendary shapes were showcased in the presentation: a ‘cocoon’ coat, this time in a vibrant poison green, and a flared dress in a powerful violet tone.

The concept of French-girl chic has become a modern money-spinner. This creative talent is an American man, but he understands this aesthetic perfectly. Rider previously worked with a fashion icon during her period as creative director, and then devoted a half-decade building the American brand into a beacon of wearable style. Now back at Céline, he is bringing the democratic approach of his previous work to French fashion. The collection featured classic outerwear, woven bags, and luxury fabrics used as accents – all the classic elements of French-girl chic – designed with cheerful tones, with an optimistic US influence. The brand is welcoming, or a brand that wants to exclude people,” the designer explained post-presentation. “I hope that everyone feels desirable in the brand. When you wear this brand, you may not have the wildest design, but you have the best coat, and you have the self-assurance to wear it.”