2005 : The house celebrates its sixtieth year with a series of limited-edition accessories. February: Miss Céline, a secondary line, is launched. May: Roberto Menichetti exits. July: Ivana Omazic, a Croatian in-house design consultant, tapped as creative head of the label.
2007 : Ivana Omazic transforms Japanese photographer Mika Ninagawa’s images into prints for the fall collection.
Luxe sportswear with couture-like finishing was, and is, Céline’s raison d’être. “Céline is not a brand for spectacle, it’s a brand for real life,” Serge Brunschwig, an LVMH executive who briefly ran the company, told Women’s Wear Daily in 2006. And so while Philo’s championing of understatement might have been interpreted as—and might have functioned as—an attempt to realign the prevailing values of the industry, she was, in fact, putting the emphasis back on the core fundamentals of Céline. She was able to shed a lot of postmillennial nonsense and frivolity without abandoning what she described to T: The New York Times Style magazine as a quintessentially Parisian mood of “elegance, decadence, and those saucy, steamy Belle de Jour women that I find really seductive.” Thanks to Philo, the discreet charm of the bourgeoisie continues to, well, charm.
1987 : Luxury-goods mogul Bernard Arnault assumes control of Céline through his holding company, Financière Agache. The founding family is shown the door soon after.