Latest news with #Rider
Winnipeg Free Press
4 days ago
- Winnipeg Free Press
Animal abuse and rodeos
Opinion Rodeo season is upon us, and last week the nation's attention was focused on the Calgary Stampede. It didn't take long for animal welfare concerns to rise to the forefront, starting with the collapse of a horse during the opening Stampede Parade, and ending with the death of Rider, a horse participating in the chuckwagon races. Calgary Stampede CEO Joel Cowley called it 'an unfortunate incident.' The Vancouver Humane Society has been collecting statistics on animal deaths at the Calgary Stampede since 1986. The total is 110, with 2024 being one of the deadliest rodeos in Stampede history. Last year, four animals died: a steer used in steer wrestling and three horses used in chuckwagon racing. Chuckwagon racing is one of the deadliest rodeo events for horses, pushing them beyond their limits at tight speeds in tight spaces. This leads to tragic outcomes such as broken legs, heart failure, and fatal collisions. Other rodeo events, such as bronc/bull riding, animal scrambles, team roping, and wild horse/pony races, are also outdated and cruel modes of using animals as entertainment, as they cause significant mental and physical distress to the animals involved. Stock animals like calves and steers used in these events are often roped, chased, roughly handled, and extensively practised on even before entering a rodeo event. Negative reinforcement training methods such as electric shocks and flank straps are commonly used to train animals such as bulls to buck as violently as possible, with no reprieve until the desired behaviour is attained. The physical pain and immense fear that many animals experience in these events does not justify the entertainment value of the spectacle. While the Calgary Stampede may be the most nationally visible example of the unnecessary and cruel exploitation of animals for rodeo entertainment purposes, Manitoba has its own rodeo circuit. In addition to annual events in Morris and Selkirk, the Heartland Rodeo Association also travels to towns throughout Manitoba over the summer months. Event organizers and supporters often make the case for these rodeo events as supporting rural roots and traditions, citing concerns are raised by a largely urban population that doesn't understand rural life and values. Their position is that events such as animal scrambles, where youth chase animals around a loud crowded arena in an attempt to remove a halter from the animal's neck, provide an educational opportunity for urban dwellers on the day-to-day nature of farm life. However, this approach shows little regard for the physical and mental distress suffered by the animals involved. Framing the issue as simply a difference in values between urban and rural is a red herring. Whether one lives on a farm or in a condo, the majority of people do not want to see harm come to an animal. In fact, most Manitobans would agree that compassion and empathy for all living beings are not rural or urban considerations; they're human values. As we grow in our understanding of animals, many people are choosing to support events that celebrate them with care and compassion. In 2022, polling showed that 67 per cent of Canadians were against using animals in rodeos, with this number growing as public education on rodeos becomes more readily available. Moving away from rodeo events that cause mental and physical distress and suffering gives us the chance to create new traditions that honour animals without causing them stress or harm. By embracing humane alternatives, we can enjoy meaningful experiences that reflect our values of empathy and respect. Many agricultural fairs and events throughout the province have family friendly activities that do not harm animals or cause them distress. The midway, carnival games, vendor markets, mud bogging, tractor and machinery displays, live music, strongman competitions, bouncy castles, dog agility and flying disc displays, face painting, chainsaw carving, clowns, and parades are all more humane alternatives. It's time to move toward rodeo traditions that honour animals rather than placing them at risk. Krista Boryskavich is the director of animal advocacy and legal and government affairs at the Winnipeg Humane Society.
Hypebeast
12-07-2025
- Entertainment
- Hypebeast
Maison Margiela & CELINE Debut New Directors as Balenciaga Says Farewell in This Week's Top Fashion News
Glenn Martensmade his long-awaited debut forMaison Margiela, presenting a memorable collection rooted inMartin Margiela's visionary legacy and the romantic contributions of the tenured former creative directorJohn Galliano. On July 9, the designer took his audience back to where Martin Margiela staged his final collection in March 2009 at Parisian cultural space Le Centquatre. The opening directly references the 2009 show with translucent polyurethane armor. Later, what appeared to be leather coats were finished with a rigid and rugged quality, and even the seemingly light, graceful fabrics appeared burnt and tattered. Towards the close, renewal became imminent in technicolor florals, and a long-sleeve dress covered with the spoils of a golden treasure chest. While the impressive debut marks a new era at Maison Margiela, Martens demonstrated his skill in advancing established legacies with novelty. Michael Riderdebuted his highly anticipated first collection as creative director forCELINEin Paris. This homecoming marks a new era for the luxury house, defined by preppy styles, sculptural silhouettes, glamorous eveningwear, and skinny jeans, following Hedi Slimane's departure. Rider, who previously worked at CELINE underPhoebe Philo, emphasized the brand's core values: quality, timelessness, and enduring style. His collection blended business with extravagance, featuring muted trench coats and blazers accessorized with decadent gold jewelry. Bold blues, saturated reds, and rich greens appeared on oversized bags and perfectly proportioned sportswear. Rider's vision prioritizes longevity, aiming to create investment pieces that transcend generations and become a cherished part of the wearer's life. In his final collection forBalenciaga,Demnamarked the end of his decade-long tenure, reflecting on fashion's constant evolution. He emphasized the industry's need to 'dress the future before it has a name,' a profound statement underscoring his design philosophy. The 54th Couture collection, set in Paris, featured campaign stars likeKim KardashianandNaomi Campbell. Demna reimagined classic 'La Bourgeoisie' styles with bold tailoring and subtle prints, alongside Hollywood-inspired glamour, notably referencing Elizabeth Taylor. Men's looks showcased his signature elevation of everyday items, including a couture sneaker and a 'jewelry box' laptop case, blending the mundane with the extraordinary. This collection, seen as a clean slate before Pierpaolo Piccioli takes over, was notably subdued and elegant, focusing on meticulous detail rather than past gimmicks. Berlin Fashion Week SS26showcased an impressive lineup of designers, drawing international attention to the city's top talent. The event highlighted unique fashion manifestos, includingDavid Koma's debut menswear catwalk, 'I LOVE DAVID,' which featured wearable formal ensembles inspired by David Beckham and Michelangelo's David. GmbH's Spring 2026 show, 'Imitation of Life,' offered a poetic and emotional commentary on the global state, looking to childhood for a hopeful Beil's 'Milieuschutz' collection marked a return to intention, reflecting on transformation and responsibility, with designs inspired by their new studio in an old pharmacy. Lastly,SF1OG's Spring 2026 show explored obsessive desire and emotional decay through the lens of a teenage dream, showcasing youthful freedom and craftsmanship on antique textiles. Justin Bieberhas officially launched his new fashion label,SKYLRK, unveiling its first vibrant collection. This venture marks a shift from his previous brand, Drew House, reflecting a new creative vision. After nearly 18 months of teasing, the initial drop features a range of apparel and accessories, including hoodies, headwear, oversized sunglasses, and two footwear models. The collection boasts hoodies in 'Fizz' yellow, 'Super Blue,' and 'Smudge' black, complemented by beanies in 'Gum' pink, 'Jelly' red, and 'Fizz.' A standout piece is the 'Upside Down' oversized sunglasses with bold, bubbled lenses, an aesthetic echoed in the 'Chunky Mule' and 'Beach Slide' footwear. The entire collection is now available on SKYLRK's official webstore, with further brand details expected soon. DesignerHeron Prestonhas reacquired full rights to his namesake brand fromNew Guards Group(NGG), signaling a fresh start. Preston, who launched his label under NGG in 2017, bought back control amidst strategic shifts for NGG, including a recent bankruptcy filing and its acquisition by Coupang. This move follows other brands likeAMBUSHandPalm Angelsalso departing NGG's portfolio. Preston emphasized his commitment to his creative vision, stating he 'fought for my name, my work and my vision.' Now based in Brooklyn and independent of external investors, he is poised to launch his next collection in October. This reacquisition allows Preston to fully focus on expanding his unique design aesthetic, marking an exciting new chapter for the brand.
Elle
10-07-2025
- Entertainment
- Elle
Celine Just Brought Back This 2010s It Bag
Michael Rider made his debut for Celine over the weekend and it was filled with a massive array of references. The new artistic director took care to balance codes from both of his predecessors, Phoebe Philo and Hedi Slimane. As a result, a few familiar silhouettes came strutting down the runway—most important of all, the Phantom bag. The purse first debuted in 2011 under then-creative director Philo and was inspired by the house's original suitcase design. The more spacious sister to the Luggage, which was released the year prior, the Phantom added flared gussets and leaned into the 2010s carryall craze that was just beginning. Like the Luggage before it, the bag was an immediate success, becoming synonymous with celebrity status and paparazzi street style. At the height of its fame, the bags flew off the shelves and waitlists could reach months-long. Anyone who was anyone tossed their belongings into the caverns of one of these bags before leaving the house, including Celine Dion, Kim Kardashian, Linsday Lohan, and Gwyneth Paltrow. Now, the Phantom is here again, and hopefully to stay. On the runway, Rider showed two new iterations with some key differences. One was chestnut and the other reminiscent of Yves Klein blue—another Philo reference from his decade spent as her design director. Don't worry, the bag still retains its wide-winged shape. If anything, Rider pushed the silhouette even further, shortening the height and expanding the width. The new style feels similar to many of the presiding popular rectangular shoulder bags—the Bottega Veneta East/West Andiamo, Prada Bonnie, and Alaïa Le Teckel all offer options in this shape. However, the advantage of the Phantom is and always will be its size, especially since we've all had enough of micro-purses too small to even hold your phone. While Rider is paying homage to those who came before him, he's also smartly investing in the current It bag resurgence. In recent seasons, designers like Chloé and Fendi have reissued their own street style icons: the Paddington and the Spy, respectively. There's no stopping it—nostalgia is saturating design to the max, and Celine is smart to play into it, especially under the leadership of a Philo disciple. Fashion fans rejoice: on the runway, all good things eventually come back around.
Graziadaily
07-07-2025
- Entertainment
- Graziadaily
5 Pieces from Michael Rider's Celine Debut We Predict Will Go Viral
This coming September promises a veritable reshuffle of the fashion tectonics, as the runway calendars align to unveil a new cohort of creative auteurs. After seasons of musical chairs - some with more discordant notes than others - a few names in particular mark an era in fashion of sorts: Mathieu Blazy at Chanel, Louise Trotter at Bottega Veneta and Jack McCollough and Lazaro Hernandez at Loewe. But if you're looking for an early overture, the weekend offered one. Beneath the saturated grey Parisian skies and a theatrically billowing silk foulard suspended like an overtly decadent veil of the show's courtyard venue, Michael Rider made his highly anticipated runway debut for Celine. This was no arbitrary appointment: Rider is returning to the house where once cut his teeth under Phoebe Philo - a connection not lost on the brand's ever-discerning devotees. Fresh from his role as design director at Polo Ralph Lauren, Rider delivered what could only be described as an exercise in intelligent calibration. With reverence and resistance in equal measure, he grafted his own syntax onto the storied Celine canon. House signatures? Present and accounted for. A new hint of his own making? Undeniably. It was a show, but also a thesis. 'I did not want there to be a sense of erasure,' he said backstage following the show. 'There was a foundation to build on. That to me felt modern, it felt ethical, it felt strong,' he continued. The collection itself moved with confident duality. Ultra-skinny jeans - a pointed nod to Hedi Slimane's punk-rock, razor-edge sensibilities - rubbed shoulders with supersized silhouettes that whispered of the '80s. Colour came in primary jolts, but it was the accessories, those talismanic objects of fashion desire, where Rider's instinct as a commercial wunderkind shone. Naturally, rapturous applause ensued, not least from the A-list guests in attendance, such as Alanis Morisette and Dan Levy. Dan Levy, Alanis Morissette ©Celine And let's be honest, in an year where LVMH (and luxury market as a whole) is facing a rare wobble (the group reported a 4% drop in sales across fashion and leather goods for Q1 2025), it's the bags that are expected to speak volumes. Rider now shoulders the future of LVMH's third-largest luxury house, and based on his debut, he's walking in the right shoes. As for those who lived in Céline and worship at the altar of Celine, Rider's opening chapter offers the best of both worlds: sensibility with sell-ability. And among fashion editors, spring/summer '26 shopping lists are already inked with longing. And here's what's topping them. The logo belt may live on, but Rider proposes a re-orientation of attention: away from bags (and their countless charms) and onto toward the waist. Modern-day chatelaines, festooned with charm-like trinkets, clinked and swung with irreverent utility. More is more, and belt real estate is prime. A ghost no more: the Céline Phantom bag, a cult relic from Rider's earlier tenure under Phoebe Philo, re-emerged with bolder, stretched proportions. It's the sort of resurrection that doesn't just nod to history, it compels a reappraisal. Expect to see it slung over every shoulder that matters. Both of Rider's predecessors were smart marketeers when it came to stamping the Celine logo onto clothes, caps and even blankets, making it a fashionable rite of passage. This shows no signs of waning. The Celine logo most notably appeared on a T-shirt that even the quietest of wearers will want to be seen in. Elsewhere, it popped up on basket bags, pouches, jeans tabs, and the shoes. Never shouting, but quietly suggesting that you, too, are part of the new new Celine cult. Understated? Yes. Unmistakable? Also yes. For those still clinging to Hedi's Celine, rest assured: the Triomphe endures. Now reinterpreted as a shoulder bag, it proves that evolution need not mean exorcism. A piece both for collectors and for the street style set. It began with the invitation - wrapped, naturally, in silk. Then came the canopy, a monumental foulard as poetic rain protection. Then, a runway riddled with silk scarvesknotted, slung, tucked, the kind of real-world, real-woman styling that earns its keep across seasons. The foulard, Rider reminds us, isn't just decorative: it's architectural, adaptable, and the one item you should add to wardrobe, no matter the season. Henrik Lischke is the senior fashion news and features editor at Grazia. Prior to that, he worked at British Vogue, and was junior fashion editor at The Sunday Times Style.
Fashion Network
07-07-2025
- Entertainment
- Fashion Network
Celine: Amid a deluge, Michael Rider debuts with poise and panache
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.
