CÃ©line: Phoebe Philo’s done it again. Her work at Celine has elevated her to a cult-like status so lauded that attending the show has become almost as big of a deal as attending Karl’s Chanel show in Paris. And if this collection is any indication, there will be no stopping the CÃ©line obsession. But this season, Philo did an about face from the seriousness of her last collection. The wild and colorful brush strokes that painted the collection were influenced by Hungarian-Franco photographer BrassaÃ¯, whose most famous photographs captured the underbelly of Parisian society during the Twenties and Thirties. This manifested in long T shirt dresses and tanks in lipstick red, cobalt blue, and B&W that were worn over long asymm pleated skirts or on multi-colored trench coats with oversized shawl collars. The sort of half-moon, rudimentary graffiti brush strokes were mixed with more modern street references in pieces with blue, red, green, and black strokes on an Eighties-style big sleeved top for a bit of a Rastafarian vibe paired with a black pleated skirt with what looked like a red film strip running through (perhaps another reference to BrassaÃ¯, who was also a filmmaker).