When “Chic” Stops Meaning Chic

This week, I saw a video from an Instagram creator—whose name I won’t disclose—explaining, in a kind of MTV Cribs-style tour, that her “guest bathroom had to be very chic.”

Most of the time, we use words without thinking too much about what they actually mean. We speak them in conversation, write them in emails, repeat them online. In everyday use, some words gradually begin to detach from the ideas they once carried and, through overuse, start to lose their weight altogether.

Take the word “iconic,” for example. It is now used almost constantly to describe anything remotely impactful, recognizable, or aesthetically pleasing. But “iconic” does not simply mean noteworthy; it means something closer to being a defining symbol, something worthy of genuine cultural reverence. The gap between those meanings has quietly become enormous.

The same thing has happened to the word “chic.” Nowhere is that more visible than on Instagram and TikTok, where people increasingly post videos showcasing the items they own that they claim are chic—guest bathrooms included.

The dictionary defines chic as “stylishness and elegance, typically of a specified kind.” But inherently, anyone who could genuinely be described as stylish or elegant would never feel the need to describe themselves—or anything they own—as chic. The moment chic becomes something self-declared, it begins to lose the quiet credibility that once defined it.

Do you think Lee Radziwill would have described herself as chic? Or Carolyn Bessette-Kennedy? Donyale Luna? Probably not. Style, elegance, and taste were never meant to announce themselves. They were meant to be noticed almost reluctantly, by others.

What once made chic appealing was precisely its sense of effortlessness. It suggested discernment without performance, sophistication without self-awareness. Today, the word is often used as a form of aesthetic signaling instead—a shortcut for appearing tasteful, rather than embodying taste naturally.

“Chic,” as it is used now, has become increasingly detached from its original meaning, carrying with it a faintly performative aftertaste. And perhaps that’s the most unchic thing of all.

Very Cabmate is back. Filtered through a Cabmate lens on the fashion industry and beyond, here’s this week’s round-up of what to see, read, listen to, and shop — mixed with some quick thoughts and feelings from a Cabmate POV.

Matthieu Blazy at Chanel

After two prêt-à-porter collections, a Métiers d’Art show, and a haute couture debut, Matthieu Blazy presented his Chanel Cruise 2026/27 collection in Biarritz last week. It marked his fifth collection for the house—just five months into his tenure.

Since his debut, Blazy has managed to wake what had long felt like a sleeping beauty. Not gradually, but with immediate effect: within a single quarter, he moved the house of Chanel straight to the number one spot on Lyst’s Q1 Hottest Brands Index, after not even placing in the top 20 the quarter before.

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Very Cabmate is back. Filtered through a Cabmate lens on the fashion industry and beyond, here’s this week’s round-up of what to see, read, listen to, and shop — mixed with some quick thoughts and feelings from a Cabmate POV.

Versace: “Uncomplicated elegance, unbound by inhibition”

Following Prada Group’s takeover, and the swift exit of Dario Vitale after his brief tenure, the house has continued to circulate Vitale’s more intellectual idea of Versace’s sexiness—less about excess, more about ease. The phrase “Uncomplicated elegance, unbound by inhibition” has started appearing across recent communications, suggesting a deliberate softening of tone rather than a full reinvention.

It’s not just the direction itself that’s interesting, but the attempt to translate Versace’s identity into something wearable in everyday life without losing its charge. It’s a difficult balance: stripping back without flattening what makes it work.

So far, the most convincing signals are coming not from statements, but from imagery. The celebrity placements around the Spring Summer 2026 collection feel noticeably more relaxed. Chloë Sevigny’s green suede Pivot bag reads less like styling and more like instinct — same goes for Uma Thurman in her Spring Summer 2026 Onitsuka Tiger x Versace TAI-CHI Sakura trainers.

The question is how far this approach can be pushed once Pieter Mulier steps in over the coming months.

Chanel’s Ambassadors: The Fun Crowd

The fashion industry is often — and for good reason — compared to high school. The cliques, the gossip, the quiet hierarchies; it never really goes away. Within that dynamic, one brand stands out for assembling the right kind of crowd.

Where others lean into a one-dimensional idea of “cool” (think the front row of cool girls at Balenciaga a few seasons back), Chanel builds something more nuanced. In the class of Chanel, it’s not just about good-looking, well-dressed people. With Chanel, the common thread across its ambassadors is that they’re genuinely fun. There’s a sense of ease to them, a kind of understated confidence, and most importantly, a shared positive, progressive outlook on the world. Chanel’s ambassadors feel like genuine friends of Matthieu Blazy and his team—and by extension, the house—rather than walking billboards ready to jump to whoever offers the biggest paycheck.

After announcing Indian model Bhavitha Mandava as an ambassador earlier in March, the house introduced Pedro Pascal this week as its latest addition. It only makes sense. Chanel’s ambassador strategy works because it turns something abstract into people you instinctively respond to.

In fashion’s version of high school, this isn’t just the popular group—it’s the one that actually sets the tone. The fact that Matthieu Blazy is named one of the 100 most influential people of 2026 only proves the point.

The Chanel Spring Summer 2026 eyewear campaign: that crowd on screen.

The Story of an Artwork

In the Kate Moss biopic Moss & Freud, English actress Ellie Bamber plays Kate Moss during the period in which she sits for artist Lucian Freud. The meeting of these two iconic figures from fashion and art resulted in Naked Portrait 2002 (sold at Christie’s for around €4 million in 2005), but also in a more unusual relationship between an 80-year-old artist (and grandson of the founder of psychoanalysis) and a model / rock-and-roll icon at the height of her career.

Bamber has been given what is probably one of the most difficult roles an actor can take on: playing both a model and an icon. While most actors are already judged harshly on whether or not they physically resemble the person they are portraying, Bamber is expected not only to capture the likeness of one of the most photographed figures in recent decades, but also to embody someone defined as much by appearance as by presence and attitude.

The challenge for Bamber is significant, but the first images released this week already look more promising than you might expect. So far, so good. The question is whether the film will offer a more convincing version of reality than Ryan Murphy’s Love Story. With Moss as an executive producer, and the support of the Lucian Freud Archive, it at least points toward a more considered portrayal of the intersection between art, fashion, and cultural iconography.

The film is set for release in May 2026.

I Like to Move It

Watching films at home doesn’t have to come at the expense of the setting. For anyone who enjoys watching from the couch but doesn’t love a TV screen dominating the living room, Pedestal offers a quieter answer. The Danish interior brand that turns everyday objects into thoughtful design pieces (think its Power Bar: a reimagined power strip) works through a language of balance — between simplicity, function, and form.

Less about fixed setups, more about movement. With its Moon Rollin’ TV Stand, the screen moves easily from room to room. It just makes things easier: The Pitt, Episode One on the couch with popcorn, the season finale in bed. My dream date night.

Very Cabmate Coded

Finally, don’t forget to check out the VCC (that is: Very Cabmate Coded) Spring/Summer Edit: 117 curated pieces to elevate your wardrobe with that distinctly Cabmate feel, including:

1. Emme Parsons Meta sandals in Black Embossed Croc

2. Khaite x Oliver Peoples 1978RX sunglasses in Dark Mahogany and Soft Tan Gradient

3. COS Cotton Jersey Long-Sleeved Top

4. Bottega Veneta Large Barbara Tote

5. Chanel mules in Black Suede Kidskin & Patent Calfskin

6. Nour Hammour Gallery Refined Suede Coat

And mind you, don’t confuse any of the above items with a clean girl aesthetic or quiet luxury. With those trends, the clothes tend to define the personality of the wearer. In the world of Cabmate, it works the other way around—the clothes act as a flat canvas, leaving space for a strong personality to take the lead. That’s something else entirely.

Discover the Edit

Some of the brands and pieces featured in this edition are included in collaboration with partners. Some links included in this newsletter may earn Cabmate a commission on sales.

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Paris nightlife played a decisive role in shaping your creative path. What did that nocturnal world represent to you at that moment in your life?

Paris at that time had a particular energy, a kind of charm and refinement. There was this nocturnal spirit, it really fascinated me. I was thrilled to be part of that universe.

I was studying law, but it was in clubs like Le Palace and in the bars on Rue Saint-Anne that I discovered the world I wanted to belong to and where I found my vocation. People wanted to have fun. In that extraordinary, eccentric, and free-spirited atmosphere, I realized that it was possible to become the creator of your own life. It completely opened me up.

That environment sparked the energy behind my desire to work in fashion. It was also there that I began to meet people from the fashion world like Antonio Lopez, Jerry Hall, and Pat Cleveland.

You also met Martine [Sitbon, Ascoli’s life partner, fashion designer, and former head designer for Chloé]. What role did Martine play in your early creative development?

I was really just a young man from Neuilly, but I did have a certain sense of style. Martine immediately noticed my style and recognized my potential and energy. She saw it because she was trained at the famous fashion school Studio Berçot. But above all, Martine has a true sense of fashion. This very particular instinct; this immediate, intuitive understanding.

She recognized — probably right away — things that I hadn’t even realized about myself yet. Her support gave me the credibility. Martine was the one who introduced me to the people I ended up working with for many years. From there, my collaborations developed very naturally.

On Bella Freud’s Fashion Neurosis podcast, Nick Knight referred to you as his “fashion school.” Would you say Martine played the same role for you?

Well, I mean yes, but there was a whole world around her. Martine — she was, and still is, very generous. She loved taking me to see films I’d never seen before, she introduced me to so many references. It was extraordinary. She was also the one who gave me my first Avedon book.

I read that seeing this [Richard] Avedon book gave you a kind of Eureka moment, that you realized “the energy and sensuality of women and clothes you’d always been drawn to could be expressed through fashion photography.” What was it about that book that made it such a Eureka moment for you?

It was the looks. Specifically these photos of Penelope Tree, they took you to the Gone Sixties. When I flipped through the pages there was this one image, and I don’t know why, but it was like a Eureka moment. I thought, “This really is a whole universe.” I was doing PR, as I did for Martine and later Yohji [Yamamoto], but from that moment on I completely focused on the image of these designers.

When Yohji Yamamoto was looking for a PR person in Paris, you told him that he had an amazing product but that it needed a little something to take his work to a whole new level. How did you know so early in your career that you had what it would take to do just that?

It wasn’t courage — or maybe, actually, it was. Back then, I was quite audacious and very enthusiastic. Things were also less hierarchical at the time. Today, when you start a project, there’s a producer, a casting director, a stylist; it’s very structured. Back then, it was just me speaking directly with Yohji. It was easier to dive in back then, it wasn’t a structured industry yet.

I looked at his collection and said, “We can do something extraordinary with your clothes, which I find really top-level.” His collection was incredibly inspiring. It wasn’t just courage that pushed me, but also my energy, the feeling that nothing could stop me.

Looking back, I realize I truly had a kind of conviction. It was just really exciting, there was the start of a particular energy in Paris. First, these powerful, bold designers were emerging, and then the Japanese designers arrived—more sophisticated, minimal in color, and deeply poetic.

What were the early days of working with Yohji Yamamoto like?

He wasn’t a big name yet. He was very approachable; he became the master over the years. I was the one who initiated the art direction for Yohji’s fashion shows and catalogues, a role I held for about ten years. Simultaneously, Yohji gave me a platform.

I used to go to Japan twice a year. We’d plan to meet at the very end of the morning, but he never arrived on time. I’d wait, hang around the company, observe. When he did arrive, there were times he absolutely didn’t want to talk about work. The most important thing for him was that I absorbed his style. We’d go out, have dinner fairly early, drink beers, eat amazing dishes. Gradually, we became really close, I felt completely safe.

I think, career-wise, he supported me a lot. He totally trusted me, he gave me carte blanche.

You’ve said that becoming an art director wasn’t a conscious career choice — it simply presented itself to you, at a time when the role of Fashion Art Director wasn’t clearly defined. What was it like to develop a career in a field that didn’t exist yet?

It happened very naturally for me. I was collaborating with Yohji, who famously said, “I dress people who don't exist.” It started with countless phone calls between the two of us, and then I began organizing everything for him with that same energy. I handled bookings, model castings, and gradually moved into thinking about photographers and overseeing the images.

At first, it was just the women's collection, and later the men's collection came along; I was constantly busy. I approached it with intensity and curiosity, learning as I went and shaping the role of a fashion art director as it emerged—creating a career in a field that didn't even exist yet. At the same time, I was also working for Martine, which added another layer of experience.

So the role developed organically over time?

I don’t like the word “organic,” but everything happened quite naturally. It’s because I was given the opportunities to do the things I loved. When a new opportunity came along, I took it. There weren’t any big moments of self-doubt or questioning myself.

Also, there wasn’t any compartmentalization back then, this this or that. While I was working for Yohji and Martine, I was also working with Franca Sozzani. I worked for magazines, Lei and Per Lui, doing styling and introducing photographers. I had different activities, wearing different hats at the same time. I was living out my fantasies, and just kept moving forward.

You come from a background where people had very different, more conventional, clearly defined jobs — being a doctor, a lawyer, things like that. Didn’t you ever feel insecure while navigating something so open and boundless?

On the contrary. If anything, I was more afraid of ending up in an office and working my whole life in a place where there was no room for dreams, for beauty, for refinement. I just dived in and told myself, “Why not?”

I’ve always had confidence in work. I live with the dictionary, did you know? I use it to look up words and really understand their meaning. The word work is really interesting — it means to “put in effort to achieve a certain result”. I’m deeply convinced that if you put in the effort, you’ll achieve a certain result and succeed. You make a mistake? You correct it and keep going. That approach has developed a certain resilience in me.

I was lucky to meet many photographers, stylists, hairdressers, and makeup artists who basically taught me the same thing. When you work with these great geniuses, you realize how strong they are. Jil Sander is one of them — she’s truly a strong woman. I worked with her for twelve years. I like long collaborations; I find them very interesting. Nowadays, there are fewer of these longstanding partnerships. Developing a deep relationship and allowing something to grow has become much more difficult today.

Do you think that’s especially true in an industry where it’s so often about the new?

There’s a lot of pressure: the pressure to always be new, unique, and original. The pressure to create things that stand out quickly and drive people to buy clothes. It creates a lot of confusion.

But it’s not only about the new; it’s also about talent. I’m not afraid of people who have talent — I’m afraid of those who don’t. I’m afraid of people who have no talent yet hold false certainties; those people are dangerous. Dangerous in the sense that they lack the right references, they are arrogant, and they are determined to prove that they are right. People who do have talent are the opposite: they are full of knowledge, they are humble, and they want to collaborate.

And when I say talent — careful, in the dictionary it says — I know it by heart: “an aptitude, a particular ability, a special skill, a natural disposition.” You see, it’s a gift. “A remarkable quality that you notice in an intellectual, artistic, or literary field.”

In 2018, you were appointed creative director of AnOther Magazine. How did your early experiences in London shape your creative path, and ultimately lead to taking on this role?

At the start of my career in the 1980s, when Yohji hired me as an art director, I was travelling regularly to London. The city’s vibrant photographic scene sparked my research into image-making and photographers, and introduced me to photographers such as Max Vadukul and Nick Knight as well as to graphic designer Peter Saville. London expanded my imagination through its music, fashion, and arts.

Over time, I built a strong reputation there, which is why Jefferson Hack reached out to me in 2017 to bring a bold creative shift to AnOther Magazine. I felt ready to take on the role of creative director, a position I held for four years. I was thrilled, as I have a deep connection with British culture and love the blend of chic and rebellion that defines the magazine.

During my tenure, I reworked the layout, refreshed the graphics, and focused on scouting new talent. It became a platform where I could introduce photographers such as Sam Rock, Carlijn Jacobs, Paul Kooiker, and Luis Alberto Rodriguez, among others.

When launching Harper’s Bazaar Italia, I read that you were inspired by Alexey Brodovitch’s work. What made you choose his work as a reference for the magazine? Were you looking to bring his cultural heritage into the 21st century, or was it more about drawing from his aesthetic approach?

I approached Bazaar as a brand. Bazaar Italia had not existed for several decades. I launched it from scratch, starting with the very first issue. It felt important to me to make a nod to the past. Alexey Brodovitch and Diana Vreeland, these were the people that left a mark on me, personally.

Driven by my convictions and a strong desire to create something modern and sophisticated, I worked on my first cover with Paolo Roversi. He trusted me immediately and allowed me to establish a sharp style, true to the DNA of Bazaar, from the very start. Today, people are much more interested in le patrimoine, the heritage [of a brand].

Would you say that art direction is also about finding the right people?

It is, as well as about trusting them. I still position myself within the core principles of art direction: when I work with a photographer, I trust the photographer. I trust the graphic designer, I trust a team capable of creating an original image.

You know what’s amazing about this profession? It’s about having a sense of timing. We don’t always know how, but we just know when something is right. Why do we love this photographer’s images and get tired of another’s? It’s because these people have a sense of timing. It’s all about timing.

I think it’s about timing, but also about being able to transcend time. Your earlier work is still relevant today: it’s also very much about a certain taste.

But taste—taste is something you can tell me I have or don’t have. Me, I just have my taste.

In my opinion, your taste is an eye for an attitude, a feeling, a sensitivity for what beauty is. It’s a timeless taste that transcends time.

I probably have an eye for beauty, but I constantly update myself by observing what’s happening around me. I have a strong sense of timing — what people want now and what they no longer want at all. It’s a matter of feeling.

I believe in feelings, in intuition. But you have to work on your intuition, on your ability to perceive what’s in front of you. At the beginning, it’s difficult. It’s not like, “Bam, I have taste.” It doesn’t just happen. No — I believe in preparation.

Maybe it’s like the law studies I did: you have to prepare your case; you need a lot of groundwork. When I give masterclasses at schools like IFM [Institut français de la mode], I always tell that you have to study and analyze the subject—fundamentally. Like I did when I worked on Harper’s Bazaar Italia, AnOther Magazine, and Armani Beauty. After that, luck comes.

I believe in luck in such a way that it’s something you provoke; it’s your desire. The desire to do something exceptional, the desire to lead an extraordinary life. I had that desire.

You’ve also discovered many talents, about which you’ve said that “you know when you’ve got someone special in front of you.” What does “special” mean to you?

It’s complicated. You can’t approach it with a Cartesian mindset; you have to step into another dimension. It’s not part of a logical universe. There’s no logic to it — it’s something else entirely. Over the years, you develop a sixth sense.

Someone has to have the conviction that they can do it, too. That’s part of the work. You have to be resilient. You miss out on one opportunity, you move to the next, then a third. If you keep pushing, eventually things will start to fall into place.

You are currently in the process of curating your retrospective book. What’s the “red thread” for you when selecting the images?

I can tell you that, in general, there’s a certain attitude. You recognize an attitude through my work.

If you look at my body of work, you’ll see similarities in colors, attitudes, even in castings and the choice of photographers; they’re all more or less connected, they respond to each other. There’s also a sense of photography, of the history of photography. There’s a sense of quality in the images. Of course, it’s up to someone else to decide whether they like this style or not — that is subjective. [adds] How did you describe my work again?

That it transcends time.

Can you explain why?

Because if you look at a picture, it’s not about one specific tangible aspect. It’s about a feeling. That feeling transcends time.

Above all, it’s about the character, the personality. I look for people who have a certain expressive quality. You sense it in the way they look, in the ideas or vision they carry. I also bring a cinematic sensibility into my images. I love the cinematic side of my work, whether it’s portraits or scenes that feel like they could come from a film. I like images that resemble movie scenes, combined with the natural sense of fashion that some people have.

I would love to organize exhibitions presenting the book: with sound, giving talks, and sharing the experiences I’ve had working with photographers. I want to have conversations with these photographers about how we create an image, what the magical moments are. That’s what really interests me. There’s an element of transmission in my book. That’s my goal, and that’s my answer to you•

This interview has been edited and condensed for clarity.

Welcome to “Cabmate Wrapped,” a look back at 2025. What did you read most? Which interviews kept you hooked? And which items did you come back to again and again? In this final sendout of the year, you’ll see your favorite reads and interviews, top clicks, and the timeless pieces that defined your style in 2025.

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In this week’s newsletter: TWP’s Aspen Collection, Helmut Lang’s Holiday Campaign, Chanel’s Metiers d’art show, Dario Vitale’s unfortunate Versace exit, and Generation Gucci.

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TWP’s Aspen collection

TWP, founded by Trish Wescoat Pound, is grounded in considered pieces with a lasting appeal. More than just womenswear, TWP offers a way of dressing: sophisticated, effortless, layered. Think elevated shirting and sharp tailoring, all made in the US from quality Italian fabrics.

Rooted in authenticity, TWP approaches American sportswear through a lens that feels personal and real. “I just want to make clothes you actually want to wear. It’s about ease, comfort, and sophistication,” Wescoat Pound says. The best part? TWP proves good taste isn’t about snobbism. “We are not pretentious. Our stores and showrooms are welcoming, understandable. It is not supposed to be challenging.”

It’s what you’d call very Cabmate.

For the holidays, and to celebrate the opening of its newest store, the brand has released the Aspen collection, a capsule inspired by its Alpine setting.

The collection is rich in texture and warm chocolate browns, reflecting Wescoat Pound’s natural inclination away from black toward softer, more complementary tones. “It started with American heritage sportswear, but we pushed it into an Aspen state of mind—performance meets polish, warmth meets glamour. There’s a classic mountain sensibility at the core, but elevated into something indulgent, cinematic, and beautifully lived-in.” she shared.

Dolce and Nappa leathers, LA-made denim, velvety corduroy, lamb shearling, chunky cable-knit cashmere, with a touch of sequins and beads. Pieces designed for layering. Holiday-ready, effortless, and very TWP.

Helmut Lang’s Holiday Campaign

Helmut Lang released their Holiday Campaign, for which photographer Luna Conte captured New Yorkers and their pets in Helmut Lang’s Resort 2025-2026 signature knitwear. Inspired by traditional family holiday portraits, the imagery blurs the boundary between public and private, fashion and feeling.

Chanel’s Métiers d’Art

In the unlikely case you missed it: Chanel had their Chanel’s Métiers d’Art show, shown in New York’s Bowery subway station. These were my favorite looks; this was my favorite shot:

There’s been some talks about whether Chanel should have done more to customise the train cars and the station itself. But here’s how I see it: Matthieu Blazy is bringing Chanel into the real world. The clothes remain chic, sharp, aspirational. The setting, however, is grounded. It acknowledges the everyday, the women who actually move through the city.

Blazy’s approach to the runway is very different from Karl Lagerfeld’s. It’s Chanel stepping into the subway, not the subway being transformed into Chanel. It’s a small distinction, but it makes the whole moment feel more real.

“I was interested in the New York subway because I think it’s the one and only city of the world where every strata of society are using it, and I think it’s a place that has no hierarchy,” Blazy told Vogue. Amen.

Dario Vitale’s Versace Exit

Just two days after the Prada Group acquired Versace, the house’s Creative Director, Dario Vitale, has been let go. It’s disappointing not only because Vitale seemed to be on a promising path, bringing an intellectual, sophisticated edge to Versace’s Italian sex appeal (especially if you look at Tyrone Lebone’s images for the brand released only four days ago), but also because it reflects a deeper, toxic tendency within the industry—one that casting director Anita Bitton was able to articulate in a way only she could.

Generation Gucci

And finally, Gucci released its Pre-Fall 2026 collection, dubbed Generation Gucci. And it has to be said: it looks great. Imagery? Flawless. Looks? Flawless. Underlying message? That’s where it slips.

Demna told Vogue: “It feels very liberating for me creatively now to just make stuff without overthinking it. To really more use my emotional response to something as a filter rather than brain, intellect, or concept.” And it shows.

What this Gucci collection represents is — understandably — a safe bet. Reusing what has been done, what has worked, and what sells. It’s a literal 1-1 reference to Tom Ford’s Gucci, specifically his Fall 1995 runway show, executed sharply. But that’s exactly why it doesn’t resonate with me as much as you’d expect.

Tom Ford’s Gucci had a vision. Its direction centered on a certain sense of sex appeal, a sensuality. There was a message. The sales followed. With Demna’s approach, the sales come first. It’s understandable, but with the skills and resources Gucci has — reflected in the strong execution of the collection — let’s hope the numbers allow Demna to create a collection with real meaning again soon.

Some of the brands and pieces featured in this edition are included in collaboration with partners. Some links included in this newsletter may earn Cabmate a commission on sales.

While last week’s sendout focused on gifts for your loved ones, this special edition—in the spirit of Thanksgiving and Black Friday—is all about the best gifts for yourself.

Reflected in the pieces curated below, this Black Friday Weekend, remind yourself to only invest in items that will stand the test of time, both in style and quality. Each item curated in the lists below is Cabmate-approved, made from quality materials, and still available in a full size run.

Treat yourself, but remember to shop consciously. Enjoy the Black Friday weekend, and happy shopping.

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The holidays are about being with the people you care about. Gifts are just a small part of it, and anyone with a bit of sense knows it’s not really about what you give, but the act of giving. So take it easy, don’t stress about it, and let yourself be inspired.

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In this week’s newsletter:

• What to see: the mood-setting content.

• Shop: 25 very Cabmate pieces.

• And More: your Top 5 items from the past 30 days, and the very Cabmate Christmas gift guide.

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What to see

• For those who don’t follow Cabmate on Instagram yet, this is the kind of content you’re missing:

From curated mood-setting images to timeless editorials and inspiring streetstyle, the Cabmate feed gives a sense of the world and aesthetic we’re building, and where all of this fits. Think Emma Thompson grabbing another drink at the 1996 Miramax Films and Disney Golden Globe Party, to a chic lady casually donning a full-leopard look. This is the kind of content that sets the mood:

Shop

As every week, I’ve curated a new list of 25 very Cabmate pieces. The beauty of a timeless approach? You won’t find any trend-chasing items here. These pieces stay relevant for years, not months. This week, the focus is a mix of Holiday pieces, relaxed jeans, cozy layers, and some solid staples. As last week, the Holiday items are marked with a *. Enjoy the Sunday scrolling:

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In this week’s newsletter:

• What to see, read, and listen to: Michelle Obama’s The Look. But also Michelle Obama in Chanel, Jacob Elordi in Bottega Veneta’s “What Are Dreams” campaign, and Where It’s At with Cathy Horyn.

• Shop: 25 very Cabmate pieces that are just right for this time of the year.

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What to see, read, and listen to

• Michelle Obama’s The Look

Michelle Obama wearing one of Narciso Rodriguez’s designs on election night (read more in In the Cab With: Narciso Rodriguez) set the tone for how she would use fashion during her years in the spotlight: not as decoration, but as dialogue.

In her new book released this week, The Look, Obama, together with her longtime stylist Meredith Koop, reflects on the choices in clothing and hair that came to define her eight years in the White House. The Look is more than a book about style; it’s a study of how thoughtful choices in clothing and hair can carry meaning and spark conversations about identity, representation, and purpose.

• Michelle Obama in Chanel

For the press tour of The Look, Michelle Obama wore several pieces from different brands, but one look stood out most. It was the first (full) look 1 from Matthieu Blazy’s Chanel Fall/Winter 2025 collection.

Chanel dressing Michelle Obama is, in itself, a powerful choice. But it’s also part of a bigger narrative; one that stylist, fashion historian, and critic Kim Russell (@thekimbino) explained best: “The Chanel woman — as it stands today — Michelle Obama completely fits that picture. Not only Michelle but the other women they’ve aligned themselves with. To me it’s a rejection of passiveness. That’s the common theme. Ayo [Edebiri] - outspoken and intelligent and political and unafraid to be honest with who she is. Nicole Kidman — a neverender, go-getter, non stop woman who’s always passionate in everything she does. And honourable mentions for Pedro [Pascal] and Kendrick [Lamar].

It’s easy to dress just anyone. It’s easy to dress people who have clout and drive EMV. It’s easy to dress controversial people. It’s less easy knowing exactly who people need. In a society where brands are compromising themselves and bending backwards to fit the hysteria and to be intolerant — there’s Chanel. What a representation of a house and team that understand what people need. One of the most influential WOMEN [PERIOD] in U.S. history who means so much to so many wearing the opening look of Matthieu’s Chanel for her press tour is a statement. The right statement to make during a time that women and their rights in America are..well... you know the rest. Among all of this it must be said...the woman looks fabulous. Big kisses Meredith Koop for styling this ginormous moment.”

I couldn’t agree more, and I couldn’t have said it any better.

• Jacob Elordi in Bottega Veneta’s “What Are Dreams” campaign

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In this week’s newsletter:

• What to see, read, and listen to: Neelam Ahooja’s open letter to The Row, “Justice for Minimalism,” and a closer look at Charvet.

• Shop: 25 very Cabmate pieces that just feel right for the mood of a crisp November.

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What to see, read, and listen to

• Neelam Ahooja’s open letter to The Row

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In this week’s newsletter:

• What to read: Words of wisdom from Melanie Ward. Plus: timeless conversations from the In the Cab With archive.

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In this week’s newsletter:

• What to see, read, and listen to: Studio Nicholson’s WOMAN, Bobby Busnach’s All of Us Stars, Alex Eagle x J.Crew, and the return of What’s Contemporary Now.

• Shop: 25 must-have Cabmate pieces, including curated COS items at 40% off.

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What to see, read, and listen to

• ICYMI: Yesterday’s In the Cab With: Narciso Rodriguez

A conversation with an icon of timeless style and personal inspiration of mine, on authenticity, enduring fashion, and the women who inspire it:

• Studio Nicholson WOMAN

Released quietly amid the chaos of fashion month, Studio Nicholson’s WOMAN campaign deserves a second look now that things have settled.

“I think women should look real,” said Nick Wakeman, the brand’s founder and creative director, in conversation with Simon Chilvers. “There are so many perfect young women wearing very expensive clothing that doesn’t look particularly authentic,” she added.

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You grew up wanting to build things, either as an architect or a fine artist. What brought you to Parsons School of Design and ultimately to study fashion?

I have always had a love for architecture, I still do. I would sketch shoes which were very sculptural, I was fascinated by that kind of architecture.

With fashion, I was attracted to the beauty of it. It was the seventies; I was very much seduced by the glamour of New York, Studio 54, by creating things that made a woman feel beautiful.

Realizing I could marry the two was a breakthrough moment for me. There is this beauty component and this architectural component that I tried to marry throughout my career. By the time that I was in high school, I enrolled myself in weekend courses at Parsons because I knew I needed to understand more.

Back then, how did applying to Parsons work?

Parsons offered these great classes on a Saturday for kids in high school that were curious and interested. They were very supportive, they loved my work. They told me: “If you apply here, we’ll accept you.”

So I only applied to Parsons and was accepted. It was great. I went in there with an entrance portfolio that Parsons kept, which I learned later on was used to show students what a graduating portfolio should look like. It meant a lot to me.

I was so into it. The sketching component, the fabrication, the construction of garments, I was completely obsessed with the work.

I read that your family wasn’t very supportive?

It was a very different time. Being from a Latin family, I had to kind of lie to them. I told them I was studying fashion illustration. Then I came home one day and said that I had to buy scissors, fabrics, and materials like that, and they were shocked: “You can’t do that, you will go gay.” I told them I had to learn how to make the clothes to be able to draw them, and they believed me. Thank God. [laughs]

Even while I was at Calvin Klein – one of the top design jobs in the world – my mother would say: “When are you going to give up that ridiculous job of yours?”

Without your parents’ support, how did those early years climbing the ranks in fashion feel?

I never veered from my work. It wasn’t always easy, I didn’t always have the support, but “No” just wasn’t an option.

I had great mentors: Donna [Karan] was incredible, Louis [Dell’Olio] was incredible, Calvin [Klein] was also incredible. I learned so much, I was exposed to so much. It was everything that I was passionate about, I never strayed from that. I never went into it to be famous, to be that person. It was a true love of the craft that kept me going, I couldn’t imagine doing anything else.

It was amazing to watch Donna work. Her fabric knowledge and research was extraordinary, and I was able to watch her take those fabrics and wrap them around her body to create such beauty.

Donna was pure creativity, where working with Calvin was like finishing school. There was an amazing creative component, excellent sample making rooms and brilliant design studio, but then there was such amazing imagemaking, too. Calvin was the conductor: you met all the great talents, photographers and art directors. Bruce Weber, Mario Testino, Fabien Baron, a very young Mario Sorrenti would walk in. I met Dick Page there and have worked with him ever since. I was able to form life long relationships with so many brilliant creatives.

It was an incredible trajectory for a young designer, I was really fortunate. Then I left and started consulting at Cerruti in Paris while at the same time I was working for TSE Cashmere in New York. In hindsight, it was a bit too much of an undertaking. I wasn’t looking to take a bow on a runway, I didn’t need to be that person. It’s not my personality. I had to adapt in a hurry and I wasn’t very good at it in the beginning. I tried to cope as best I could.

How did that leap in success between 1995 and 1997 feel at the time?

Those two short years brought a lot of attention to Cerruti. The first couple of shows were difficult. He [Nino Cerruti] was very involved. I realized I had to do my own thing, which wasn’t easy. When I pushed to do my own thing the next two seasons, it was really successful.

Also while I was there, I had made Carolyn’s wedding dress, which brought so much attention to my work and to the house.

Was it exciting? Was it frightening? What was the feeling that you felt those years?

It was overwhelming. I was adapting to being more visible in the industry and then I was just thrown straight into the deep end. [laughs]

But didn’t you enjoy it? Didn’t you feel like you had made it?

It was tough, because it was very distracting. I was here for the work, not the after parties.

I remember coming home from Carolyn’s wedding, I was about to show in Paris and I had to fly back. I got a call from Candy Pratts at Vogue saying: “Anna wants you to come to the Princess Diana benefit in Washington.” I said: “I have to go to Paris, I have a show. I don’t even have a white shirt,” and she was like: “We’ll send you the white shirt. You are coming.”

From being mildly recognized to having to stop and go to Washington, I wasn’t prepared at all. I remember I was the last person walking in and meeting princess Di, and feeling like what am I doing here.

Didn’t you feel a sense of pride?

As I said before, it was really overwhelming. Not everybody was nice, not everybody was kind. Some people were, and that helped. But I felt a bit on my own in a very scary way.

And yes pride, because I had a created a beautiful dress for the person I loved most.

When you moved to Cerruti, you mentioned in a backstage interview that you “wanted to combine Cerruti’s signature style of quality, fabric, tailoring, and cut and make them cool, more sensuous, and more modern.” Looking at your signature style today, would you say that approach still defines your work?

It was at Cerruti that I started to use menswear fabrics and cut them on the bias to make them more fluid and sensual on women. That technique has continued to be part of my work.

I admired what Jil Sander did, because she broke the mold with a sensuality and a purity that was unique to her. I also loved Saint Laurent and Balenciaga, because there was always a celebration of the body and the woman. In very different ways. Balenciaga was so beautifully considered and constructed, in an architectural and groundbreaking way. Saint Laurent did it in a very feminine way; the same for Chanel. Each celebrated women in their own unique and authentic way.

Throughout history, those were the things that moved me. That you could create something that was completely new, always celebrating the body and the woman. That’s what I loved about Donna Karan’s work too. That the sensuality and body always came through, I think that has always been constant.

Carolyn’s dress was a very pivotal moment in your career. How was that experience as a close friend of hers?

Carolyn and I shared such a close, personal relationship but she was such an inspiration as well. She embodies, on the fashion side, the kind of women that I love: self possessed, strong, intelligent; she possessed a rare grace.

You could speak to her about anything, she had an amazing personality and sense of humor, ans she had that amazing sense of personal style. She wore what she loved and felt comfortable in, and everything was authentic to her.

It was an exciting time in our personal lives and I was inspired to create the perfect dress for her, but it all felt so very natural too. We looked at fashion in very similar ways. She came here [to Paris] for fittings of her dress. We pulled the neckline down to make it more sexy and that was it. It was a very natural way to create something because I knew her so well. I knew she would never feel comfortable in something traditional, it had to be that meeting of the minds.

Carolyn was so authentic, but she is now seen as a quiet luxury muse. What are your thoughts on that?

Carolyn wasn’t following a trend, ever. I recently spoke at the WWD Summit, and Alex Badia said that at many previews before fashion week, Carolyn was on every mood board. I found it funny, because the brands aren’t typically known for quiet luxury.

The word luxury is tough as it is so overused today. When I started out, my idea was to create luxury, yes. But it was to create a modern kind of luxury for a younger person. When I started, things like luxury and things that were elegant, refined, were always for an older customer. I saw young women like Kate [Moss] and Carolyn who loved beautiful things and beautiful fabrics, but that didn’t have to be uptight. That was the basis. It was less about quiet luxury, it was more about things that were well crafted, clean and beautiful for that moment and forever.

It was about a wardrobe that had a timeless quality, and could last. When you look at Carolyn, that authenticity, and that love of things that are beautiful, that feel right, those are the things that are enduring. There were moments of fun shoes and things like that, but it wasn’t the core. The core was always pieces that were timeless.

I remember seeing a Vionnet dress in Paris at the Louvre at an exhibit years ago. It was a dress from the ‘30s, and you could see it on someone like Carolyn or Kate, or even on someone from today. That kind of magic is rare, but it is what endures. I remember being so moved by this incredible dress. Something like that, that is so meaningful, lasts forever.

The fashion industry is so much about the new, how do you balance the two? Do you ever think about it?

It is tough. When I started my own company I was able to do that for a good period of time, but you have pressure from the press: “Vogue wants color,” “The stores need this.” It’s hard to stay true to yourself and remain relevant.

I remember in my own career, where I started to show differently, and do things that were more theatrical, that weren’t true to me or to the brand.

Because of these pressures from outside, destabilizing your inner trust?

Yeah, I mean those were few moments for me. Luckily, I was able to do my own thing because I had my own brand. While I was at Loewe it was difficult, because it was a brand that wasn’t well known. LVMH had bought it and attached my name to it for press on their part, while I was there to use my craft. I wasn’t going to put on a show for a show’s sake, it was difficult. I was design focused, they were show focused. I was told that every look had to have a bag; I just don’t work that way.

And how do you deal with it now?

Now, I don’t have to care. There is so much talk of my desire to get back to work again, and it’s great because it is on my own time and it is happening so organically. I don’t need an Instagram post, I don’t need to make it loud for attention, unwearable. I can just now do what I love, and not bow to anyone, to any pressure.

What advice would you give a young designer who hasn’t yet earned the trust and reputation you’ve built throughout your career?

I would imagine it is very hard. I remember an editor saying to me: “I am not going out to Brooklyn to see another young designer who is going to be here for two shows, and then gone.” You are not even getting an opportunity beyond two shows to make a dent, or capture someone’s attention. Also shows today are so much more about attention grabbing than the craft. When I meet or mentor young designers trying to create something that’s solid, that’s good, they’re relegated more to a design team than to create something on their own.

I’ve met some extremely talented young designers from Paris, from New York, and it is a little bit saddening to hear them say: “The creative director wants me to do twenty variations of this one skirt.” I can’t even imagine what that feels like.

I’ve always been so much about the material, the fabrics, the research, the sketching, the draping, the cut, working with the room. The process. I think it is a really tough time for a young designer, because it is so much more about how much attention you get on social media than about the craft.

The thing about fashion is that it is cyclical. There is all the noise [now], and then it gets back to the purity.

Yet quiet luxury is already here, so aren’t we already in that part of the cycle?

The difference today is that it’s a trend. There are purists, like Armani, Sander, even designers like Consuelo Castiglioni when she created Marni—very authentic—but also a purist in her aesthetic. They weren’t following trends like quiet luxury. Today there are so many people doing that because it’s a trend.

You see it clearly because the clothing doesn’t fit properly, the materials aren’t right. It’s a hype, it’s a movement, because everybody is on it. It’s insincere, it’s inauthentic. There isn’t a thoughtfulness that someone like Sander put into the fabric, the cut, or the finishing of the clothes. It was extraordinary, timeless clothing. Same for people like Zoran, it was who they are. There are a few people who are doing it because it is their core, it is their belief.

You mentioned that you want to make clothes “as a frame for a woman’s personality”. What does clothing need to do to achieve that?

That quote was something that Carolyn said to me. She saw my work as creating a frame for a woman’s beauty, for her personality. I loved that, that it came from her, being as she would be the muse for so much of my work.

I’ve been fortunate because I’ve gotten to dress women like Carolyn, Claire Danes, Michelle Obama; women who have these incredible personalities, that are strong, intelligent, powerful, and inspiring. Just to let them shine is what is important to me. Not to be the thing that they would identify with them first. They are the focus, and then look good, too.

It’s quite simple though. I’ve always thought that was a designer’s job. [laughs] It was always logical to me, that that was what it would be. I don’t need to do anything else: it needs to look good, it needs to fit flawlessly. Really what you would think would be basic elements to the work.

As you said, apart from Carolyn wearing your wedding dress, another historical moment in your career was Michelle Obama wearing your design on Barack Obama’s election night. Looking back at both moments, what do they represent to you personally?

Today, a great sense of pride. The CFDA published this book on American design, and in the middle of the book it has one page with Carolyn, and one page with Michelle Obama; both very different, but definitely two great career highlights to me. They are two women that I personally look up to, for very different reasons, obviously. I was extremely fortunate to have those moments in my lifetime.

What does it say about you as a designer? That you dressed these women on these moments?

They both had a great impact. Carolyn’s dress was very personal, thoughtful, and true to who she was. With the First Lady, her choice of that dress was quite powerful, and very thoughtful as well. It was a moment that said: “This is change,” something that President Obama had campaigned on.

It was a bold choice, it was courageous of her, it spoke volumes about who she was and about the time. I was very proud to be part of that night. It was a more dignified time in our political history.

If you look at the brand Narciso Rodriguez, what is its signature message?

I hope that it embodies grace, authenticity, and a devotion to creating beautiful things. Something that is subtly new, that becomes a part of your life in a meaningful way. Whether it be fragrance or fashion.

As far as fragrance, I have received letters over the years that are so beautiful, that are very touching. Years ago, Maria Chiuri said to me: “I love your fragrance. My mother wears your fragrance, my daughter wears your fragrance, and I wear your fragrance.” That is three generations, three touched lives. That was really meaningful to me, more than all the pressbooks: that you can touch people’s lives in such a meaningful way.

It means a lot to me that I have been able to do my work and that it has opened the door to all of these amazing relationships and opportunities. It’s been a very personal journey to me, for all of us. From that first image of Carmen Kass, it conveyed a kind of sensuality. People looked at that photo and experienced the fragrance; it had this sense of grace, of vulnerability. She could be innocent, she could be seducing, there was so much depth to it. “For Her” continues to be a favorite. I am very proud of it because it was born out of creative passion and going against the grain, it was not following the trends.

What feeling do you hope a woman gets from wearing your fragrance?

Hopefully all of these things. The sensation of feeling all the passion that I put into the bottle. I personally worked endlessly on that bottle: it was impossible to paint a bottle on the inside at that time; I insisted for that to come to life. Same with the scent, which is musk inspired, and floral, at a time when musk was not the trend. The team I worked with at that time said “No, you can’t do that,” and I said: “We have to do that.” “No” was not an option.

You have to break boundaries, but in a way that is authentic and not just for the hell of it. You can be thoughtful about it •

Upgrade to a paid subscription to discover Narciso’s personal Seven Easy Pieces, the Seven Easy Pieces he thinks of for women, and what feels very Cabmate to him.

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In this week’s newsletter:

• What to see: Chanel Spring 2026, the Cabmate review.

• Shop: 25 Cabmate-curated items.

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Chanel Spring/Summer 2026

Expectations were sky-high. Maybe even higher than that. With his Chanel debut being the most anticipated of all the shows, one can only imagine the immense pressure Matthieu Blazy was under. Yet, after the first few looks appearing against a backdrop of enormous, floating planets, it already became clear that Blazy had lived up to every expectation. Of all the debuts, the most anticipated one proved to be the most successful.

Matthieu Blazy’s Chanel is a modern-day interpretation of the House of Chanel: boyish (think Charvet shirts), classy (flowy silks and chic combinations of materials and textures), and cool (classic jackets cut in boxy shapes with unfinished edges), with a double dose of craftsmanship to stand out.

While many designers throw in looks purely to stir up social media (a fitted bodysuit featuring a photo print of a naked, hairy man, anyone?), Blazy didn’t add fringes to shout or grab attention, but to showcase the craftsmanship of the Chanel ateliers, relaxed nods to the house’s codes, and expressions of symbolism tied to a new beginning.

It was no coincidence that the show took place under a full Harvest Moon. A lunar phase symbolizing completion, gratitude, and reflection; marking the end of one era and the beginning of another. The wheat details, incorporated into dresses and reimagined in gold jewelry, referenced one of the house’s signature motifs. (Coco Chanel herself came from a modest agricultural background and carried wheat as a badge of honour.) A small chick in one of the earrings hinted at spring and new beginnings. And finally, the planetary motifs — from the set design to the planetary bag — all pointed to the universe. It was about Chanel’s universal language, travelling across the globe and into the future. About freedom, a new universal dress, and a borderless blending of styles.

As Blazy had shared in a preview with Business of Fashion, he wasn’t interested in “the clear message.” According to him, “ambiguity is very powerful,” and in a polarized world where everyone is so quick to shout their black-and-white opinions, that feels refreshing. Balance and nuance, that’s where the power lies today.

With his Spring/Summer 2026 collection for Chanel, Matthieu Blazy put an end to the pearls-and-tweed cosplay the brand had become known for. The new Chanel is for real women. Real, cool, powerful women. Women expressing and reclaiming their strength with clothing that has menswear references, freedom of movement, and blurs gender boundaries. Blazy’s Chanel is an ode to Gabrielle Chanel, a woman who freed others from corsets, gave them power, and changed the way we dress.

And finally, the show itself. This video probably said it all. Unrehearsed but carried by the energy that filled the Grand Palais, closing model Awar Odhiang took one last lap around the runway. Matthieu Blazy came out for the usual thank-you. The two ran toward each other, arms outstretched, and embraced among the planets. I was cheering from my spot, camera in hand, convinced I was capturing this historic moment, the golden shot.

Outside, still buzzing with adrenaline, I pulled out my phone to rewatch the video and post it online. A small disillusion followed. Somewhere in the thrill of the moment, my cheering must have taken over from the focus on the camera, as the shaky footage revealed. But maybe that’s exactly how it was meant to be. Maybe this imperfect video, which I posted anyway, captures it best: Matthieu Blazy’s Chanel show was pure joy, passion, and love. As the lyrics from Snap’s show song went, “It’s a passion.” You could feel it in the air •

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As promised last time, here are 20 pieces that will take you through the season in style:

1. Khaite’s dark brown Jason belted coat ($3,900) is cut for a relaxed fit from wool-felt and comes with a belt to cinch the waist. It’s timeless elegance with a sleek, modern feel.

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In this week’s newsletter, we’re doing things a little differently. With so much happening over the past few days (too much to fit into one newsletter with the shopping recs), we’re dedicating this edition to a round-up of all the Paris shows presented so far that are worth a closer look. No need to scroll through the Vogue Runway app yourself, this is your personal recap of everything you need to remember.

Later this week, we’ll be back with an overview of standout collections presented in the showrooms around town, plus special coverage of the historic moment taking place tonight: Matthieu Blazy’s debut for Chanel.

N.B. For the shoppers: we’ll make sure to include a curated selection of pieces to discover later this week. We’ve got you covered.

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What to see: Paris Fashion Week Special

Since Paris is my hometown, I get to experience much of the great things that are happening firsthand. (For those interested, you can follow along on Instagram, occasionally.) From everything I saw — in real life, or online — these are, to me, the shows worth a closer look, the brands to remember for next spring, and the newcomers to keep an eye on:

• Julie Kegels: The Belgian designer’s collection, dubbed Quick Change, told a story of a woman in constant motion, always just one step behind time. Kegels is certainly one to watch, especially for the confident woman who doesn’t take herself too seriously and appreciates real, beautiful clothes with a playful touch of things like sticker jewels.

• Saint Laurent by Anthony Vaccarello: Saint Laurent actually presented four silhouettes (or looks) in various colors, making up a total of 50 looks. Yet clearly, Anthony Vaccarello’s doing something right: at Saint Laurent, even a big, elaborate bow manages to look effortlessly sleek.

• Hodakova by Ellen Hodakova Larsson: Perhaps most of Hodakova’s looks are a little too sculptural or experimental for casual, functional daywear, but two cues can be taken: a double belt adds edge without looking pretentious, and suede dresses are a great addition to your wardrobe.

• Mame Kurogouchi by Maiko Kurogouchi: Just like Tove did in London, Mame Kurogouchi showed that in Spring 2026, baby pink and blue will be the key colors to mix with neutrals, black, and white. Mark my words, you’ll be seeing this everywhere.

• What did I tell you? Burc Akyol’s Spring 2026 looks 7, 8, 10, 22, and 24 are further proof of the point I made above.

• Marie Adam-Leenaerdt: Another young Belgian designer who has been delivering some great collections. Once again, Adam-Leenaerdt showed she knows how to create real clothes with edge, a twist, and a sense of humour.

• Tom Ford by Haider Ackermann: We can keep it short and simple here, Haider Ackermann is bringing sexy back.

• Loewe by Jack McCollough and Lazaro Hernandez (debut): As the previews promised, McCollough and Hernandez’s debut was a truly colorful one. Luckily, not in a screaming-in-your-face way, but in a contemporary, New York–sporty way.

At first glance, the looks above seem to feature everyday pieces, but a closer look reveals exceptional craftsmanship. Through the varied treatment of leather, McCollough and Hernandez reassert Loewe’s expertise and heritage as one of the world’s oldest luxury houses.

• Givenchy by Sarah Burton: Powerful femininity at its fullest, without (apart from the shoes, which might have been better replaced with versions that didn’t pull so much focus) the cliché of ‘feminine’ frills and fuss. Sarah Burton’s Givenchy women evoke Medusa: powerful, and undeniably seductive.

• Martin Margiela by Glenn Martens (RTW debut): Where Galliano for Margiela was all about drama, theatre, and spectacle, Martens’ RTW debut revealed a clear connection to the original Margiela. Real, timeless clothes designed to be worn, not only admired on the runway.

And ICYMI: on BoF’s podcast with Imran Amed, Glenn Martens shared his take on the pressure for creative directors to be social media stars rather than focus on the craft and creativity that truly matter. He gets it.

• Yohji Yamamoto: True icons aren’t afraid to make space for others, and Yohji Yamamoto once again proved he’s one of them. As an homage to another legend, Giorgio Armani, Yamamoto included one look featuring a 1998 Armani campaign image on the back, and another with the invitation to Armani’s 50th-anniversary show enlarged across the front. The word ‘iconic’ has lost its meaning, but here it truly applies.

• Alaïa by Pieter Mulier: From a Cabmate point of view, the less conceptual pieces were the ones that actually stood out. The looks where models’ arms were bound to their bodies, like butterflies trapped in a cocoon? Not so much. Vogue called the more wearable pieces “commercial,” which carries a negative connotation. I’d call them real, because isn’t clothing meant to be worn?

• Hermès by Nadège Vanhee: There’s a momentum happening: just like Haider Ackermann at Tom Ford, Nadège Vanhee is bringing sexy back. She does it in a very Hermès way: chic, with lots of leather.

• Balenciaga by Pierpaolo Piccioli (debut): Piccioli said he identifies with Cristóbal Balenciaga as both “a maximalist and a minimalist,” and it showed: his Balenciaga debut covered the full spectrum. That said, the minimalist looks were (unsurprisingly) the standout pieces.

• Before I forget: you wouldn’t necessarily expect McQueen by Seán McGirr to be very Cabmate, but this look — or more specifically, the top — really stood out to me.

• Finally, Miu Miu by Miuccia Prada: An eclectic mix of styles, with aprons as a common thread, from rugged leather to more refined details. Among this full palette, a few simple looks stand out, which (if you tone down the colored chains and scarves) are effortlessly cool.

This was it so far.

Now, we’re ready for tonight. More on that next time:

For any questions, feedback, or inquiries, always feel free to reach out at info@cabmatemag.com.

Cabmate is celebrating timeless style, effortless dressing, and the people who make it all feel real. Some links included in this newsletter may earn Cabmate a commission on sales.

In this week’s newsletter:

• What to see: Milan Fashion Week, there’s a lot to see, like, and steal inspiration from.

• Shop: Your mood-boosting wishlist: 25 Cabmate-curated items to take you through the darker season with ease and style.

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What to see: MFW Takeaways

Fashion month is in full swing. London brought two noteworthy moments: Tove (crisp, clean looks in black and white, with touches of baby pink and blue) and Burberry (with a standout snakeskin trenchcoat), but Milan had so much to unpack that we’re keeping our focus there. From a Cabmate POV, here your key takeaways from the Milan shows so far:

• Alberta Ferretti by Lorenzo Serafini*: Pure chic, with striking all-white looks and a Flintstones-style leopard print for a playful edge.

• Gucci by Demna (debut): Strip away the distractions and you see the pieces are sleek and chic. Actually very much in line with Sabato De Sarno’s Gucci, but executed with a double dose of Tom Ford and branded far smarter.

• Jil Sander by Simone Bellotti (debut): Clean, minimal, purist looks work well, but without a hint of sex appeal—say, from a heel—they risk feeling sterile. The sheer pieces in blue and deep red-purple recalled Helmut Lang Spring 2000 (looks 8 and 69)—which is a good thing.

  

• Prada by Miuccia Prada and Raf Simons: Flowy skirts, mini bralette-style tops, and casually open jackets. But the real takeaway from this feminine-meets-casual collection is that in fashion, contradictions always work.

• Emporio Armani by Giorgio Armani (final collection): Mr. Armani’s sophisticated elegance will surely be missed.

  

• Tod’s by Matteo Tamburini: Leather skirts, leather tops, leather dresses, leather coats. Tod’s showed it all, executed in the most minimalist, stylish way.

• Versace by Dario Vitale (debut): Think Prada ugly-chic mixed with Versace sex appeal, 80s colors and some sleek leather pieces—that’s Dario Vitale’s debut. Refreshing, bold, and brave.

• Ferragamo by Maximilian Davis: Smooth, sexy, sensual, chic. It whispers shh, power is in the room.

• Bottega Veneta by Louise Trotter (debut): A true Cabmate homecoming, with styling by Suzanne Koller and casting by Anita Bitton (catch their In the Cab With interviews here). Louise Trotter delivered: 10/10.

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Payday’s here, so treat yourself during these darker, colder days with the perfect items to keep you warm (or, in some cases, hot). Here are 25 very Cabmate pieces for you to discover:

1. Especially in black embossed eel, Emme Parsons’s Elena heel ($615) is the sleekest heel you’ve seen in a while.

2. This printed calf hair pencil skirt ($1,564) by Magda Butrym is what you’d call a minimalist standout piece.

3. This Christopher Esber espresso sleeveless column dress (€570), cut from soft high-twist cotton jersey, is the perfect pick for a chic night out.

4. If you want to go for a Canadian tuxedo this Fall, this Navie denim shirt ($221, 50% off) by Tove is a great top.

5. These Belem pants in Brown overdye ($290) by Jeanerica have generously wide straight leg and offer a timeless, relaxed silhouette.

6. Comfortable yet structured: this Magda Butrym woolen, high-neck cropped bomber in beige ($1,780).

7. This cashmere funnel-neck sweater ($399) by COS has the cleanest cut and a subtle sculptured shape for a sophisticated look.

8. With an elongated turtleneck collar, Toteme’s Sleeveless fine turtleneck in a black wool-satin blend ($450) brings CBK style to Fall 2025.

9. A timeless classic, perfectly executed: this Oversized double-breasted cotton trench coat ($1,760) by Róhe.

10. Citizens of Humanity’s Ayla Baggy recycled-leather wide-leg pants ($500) are designed with a wide-leg and a glossy sheen: a great combination to add some edge to a clean look.

11. These square toe, suede knee boots ($1,210) in chocolate brown by Aquazzura are sleek and chic.

12. Massimo Dutti has been stepping up its quality, and these elegant flared suede trousers (€399 / $690) are proof.

13. Another great Massimo Dutti piece: this wool blend knit sweater with asymmetric neckline ($130) for an off-shoulder wear.

14. Tod’s grey leather ankle boots ($1,995) feature a 3.9 ins solid wooden heel, adding a bold edge to an otherwise sophisticated look.

15. By Malene Birger’s Rafaia Shearling Calf Coat ($5,250) has appeared here before, and with good reason: it’s a true classic.

16. What’s in a name? This J.Crew perfect cashmere crewneck sweater ($168) is, perfect.

17. These Clemence pleated wool-blend barrel-leg pants in dark brown ($690) by Kallmeyer are where comfort meets cool.

18. J.Crew’s Carolyn turtleneck sweater in merino wool ($118) is warm enough to wear on its own now and light enough to layer later.

19. Comfortable, flattering and the epitome of Cabmate style: this compression pencil skirt ($440) by Tory Burch.

20. These peep-toe pumps (($475), also by Tory Burch, combine a twisted, sculptural heel with a classic peep-toe and will elevate any simple look.

21. Handcrafted in Scotland, this (oversized) Ettrick Mac Coat ($2,050) by Studio Nicholson x Mackintosh will protect you from the rain in the coolest way possible.

22. COS’s folded oversized clutch bag ($99) will add a fun twist to your look.

23. Looking for something sensual chic? Nili Lotan’s Cami silk-satin gown ($595) is your go-to.

24. The Danes know how to do comfort on cold days, as proven by Skall’s oversized knitted Andrea dress (€500).

25. Finally, the Florence Hobo bag ($1,890) by Savette offers ultimate utility in the form of sleek allure.

Finally: From personal shopping guidance to styling sessions, Cabmate’s got you covered. Whatever you need, reach out at info@cabmatemag.com.

Cabmate is celebrating timeless style, effortless dressing, and the people who make it all feel real. Some links included in this newsletter may earn Cabmate a commission on sales.

In this week’s newsletter:

• What to see, read, and listen to: including a tip for fashion podcast lovers and Versace’s new expression by Dario Vitale.

• NYFW Rundown, Part II: featuring Khaite, Kallmeyer, TOTEME, and a menswear brand offering all the layering inspiration you need.

• Shop: 24 very Cabmate pieces for fall, including the perfect wool-and-cashmere blend coat, a mohair-blend sweater, and rounded-toe leather pumps.

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What to see, read, and listen to

• For Interview Magazine, Miuccia Prada and Raf Simons sat down to discuss the relevance of fashion, their shared desire to create clothes that feel real, individualism, and finding your own style. An interesting read, featuring two clearly intelligent and thoughtful voices.

• Photographer Agata Serge released the Fashion Flip Book, a limited-edition photography book reflecting on the evolving role of fashion models; and a real tribute to personality and storytelling.

• Versace introduced Versace Embodied. Not a campaign, but a conversation with the individuals and collectives that drive culture, giving them space to create something new. It’s a new expression, creative directed by Dario Vitale, defining Versace through the people, places and emblems that embody its values.

• For fashion podcast lovers: Brendawareness by Brenda Weischer (aka brendahashtag) is a real, fun, and unedited show recorded on her phone, giving an easy, insider look at how fashion works (without taking it too seriously).

NYFW Rundown, Part II

While London Fashion Week has just begun, you might be wondering if you’re actually up to date on everything that happened in New York. Like last week, we’ve cut through the noise and picked out the New York shows that were truly worth your attention. Keeping it short and simple, here are the shows and looks that caught Cabmate’s eye — Part II:

• Khaite seemed eager to prove it can do more than strong leather, showing some more scultptural, experimental pieces this season. From a Cabmate point of view, though, the brand is strongest when it stays in its lane: sharply cut leather and the occasional sensual dress, perfect for the fierce city woman who knows what she wants. When you’re Khaite, there’se no need to prove anything.

• As always, TOTEME kept things clean, chic, and classy. The all-black looks, especially, secured their claim to the triple-C crown.

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