The collection most people were talking about during the spring/summer 2027 edition of Paris Fashion Week was also the one the fewest people were able to see. Celine operates a stricter-than-usual ticket allocation – because it is Celine – but for those who made it inside, the experience felt like “being serially elated and yet happily grounded at the same time”, according to ’s chief critic Sarah Mower. Much of that came down to Michael Rider’s focus on how people actually dress, which lent a real and humanising touch to the whole thing.

That held true even at the more elaborate end of the collection. Take the 65th look to emerge from beneath a palapa in the middle of a verdant Paris garden: a silver plissé tunic with a sliced hem. “A luminescent apparition,” as Mower said, “its wearer resembled a goddess – of a casual, modern kind.” See: the tiny polka-dot tote crooked in her elbow and tousled curls, both suggesting a woman with somewhere to be. This weekend, that somewhere was the BFI London Film Festival, where Carey Mulligan wore the outfit to the premiere of , a stop-motion fantasy from the makers of , with her hair swept back behind her ears.

It was little surprise that one of Danielle Goldberg’s clients should be among the first to wear it: the look had all the quirked-up minimalism that has become the Hollywood stylist’s signature. “Danielle has such an incredible eye, and is interested only in working with the person as they are, bringing out their personality, and ultimately making them comfortable,” Mulligan said ahead of this year’s Met Gala. For the actor, that means: “Not trying to be a sculpture. I’m prepared to cinch my waist and wear heels, but I want to feel like myself. The moment it tips beyond that, that’s where I run into trouble.” A statement that feels quite real, quite Celine.