Buying a beautiful piece is the easy part. What makes it worth the investment is everything that happens after it comes home: the second outfit, the third, the new way it works with something she’s owned for years. That’s where so much of my styling work happens, and it’s what I want to show you here.
In Part 1, I tried on the Lafayette 148 Fall 2026 looks my clients responded to most and talked through what earns a place in a wardrobe. This time, the focus is Lafayette 148 Fall 2026 styling: what happens after a piece earns that place, and how it works with everything around it.
If you watched Part 1, you’ll recognize a lot of what I’m wearing here. That’s on purpose. Six of these seven looks bring back at least one piece from Part 1, restyled. The turtleneck returns in both of its colors. The pencil skirt, the Thames pant, and the barrel leg pant come back with new partners.
And the Clinton ankle pant shows up twice in this post alone.
That’s how I style my clients. When I’m working through a wardrobe, I’m rarely asking what the outfit is. I’m asking what a piece can do across five outfits, and what one new addition will change about everything she already owns.
As you watch, notice what changes each look: a layer added or taken away, a shift from contrast to tone on tone, a single detail at the lapel. Those small decisions are the styling.
Look 1: One Layer Changes the Whole Story
In Part 1, the Elongated Turtleneck in Blue Ink and the Barrel Leg Pant were a lesson in proportion. Here, I’ve added one piece: the Studded Leather Bomber.
Watch how many ways one jacket can sit. I wear it open first, then zip it, then turn the collar up. Open, it’s relaxed and easy over the turtleneck. Zipped, it becomes a clean, cropped shape. With the collar up, it frames the face and feels a little more editorial. The two-way zip helps too: you can open it from the hem when you sit down or want more room over a fuller trouser.
The studs are applied by hand, and they’re the house’s reinterpretation of the polka dot that runs through this collection. You saw that dot in Part 1 on the crepe de chine blouse and the devoré blouse. Here it turns into hardware, so the jacket feels connected to the collection without repeating it.
The bomber is a relaxed fit with dropped shoulders and gathered, elasticized cuffs and hem. That gathered hem matters. It lets the jacket blouse softly at the waist and stop just above the volume of the barrel leg, so the two shapes don’t fight. And because the jacket comes in Blue Ink, the whole look stays in one color family. Tonal dressing like this reads as considered, never as matching.
It’s still nappa lambskin, the same buttery leather from Part 1’s patch pocket jacket, so it moves like a soft layer instead of a stiff shell. Same foundation as Part 1, one new piece, and the look goes from quiet and lean to something with a real point of view.
Shop the Studded Leather Bomber
Look 2: Tone on Tone in Camel
Same turtleneck, now in Vicuna, the color I wore under the shearling vest in Part 1. This time it’s layered under the Camel Hair Blazer with the Camel Hair Flare Pant, all in Vicuna.
Watch three details in the video. First, the turtleneck’s collar is cut long, so it softly gathers up the neck instead of folding over, which gives the face a frame without any jewelry. Second, I button the blazer and then open it. Buttoned, the contoured waist shows. Open, it falls in a long, easy line, and the tucked-in turtleneck keeps the high waist of the trouser visible underneath. Third, watch the pant as I walk. The flare moves with every step and falls over the toe of a pointed heel, so the leg reads even longer.
Head-to-toe camel only works when the textures do the talking, and that’s what’s happening here. The jersey turtleneck has a soft, slightly sheer surface. The camel hair has a quiet, natural sheen. One color, two textures, and the eye reads depth instead of a flat block of tan.
The tailoring is what makes it modern. The blazer’s cutaway hem and lightly structured shoulders shape the body without feeling stiff. The pant sits at the natural waist, stays slim through the thigh, and only opens from the knee, so the flare adds length without adding bulk.
Here’s the part I want you to notice, though. This isn’t a suit she only wears together. The blazer goes over the Blue Ink look above. The flare pant pairs with nearly any knit she owns. Worn together, they’re a statement. Worn apart, they’re two of the hardest-working pieces in her closet.
Look 3: Volume on Top, Line Below
The Camel Hair Pencil Skirt from Part 1 comes back, this time with the Cable Knit Sweater.
In Part 1, the volume lived on top in a quilted vest, with a sleek turtleneck underneath. Here the knit itself carries the volume. Cable knit is made by crossing stitches over one another, which creates those narrow, raised, rope-like columns you’ll see up close in the video. In cashmere, it gives the sweater dimension and warmth without heaviness, and its deep Truffle brown against camel gives the whole outfit its texture.
I wear the sweater out, with its relaxed body falling just past the hip, and the skirt’s narrow line keeps the silhouette controlled. That’s the balance I look for whenever a client brings home a relaxed knit: if the top has volume, the bottom needs a clean line, and a pencil skirt is one of the cleanest lines there is.
Watch the back view, too. The skirt has a slit at the back, so it moves easily as I walk, and the long hem meets a heeled boot with no gap of skin in between. That’s what makes a pencil skirt work in cold weather. And the stand collar sits high and soft at the neck, so you get the warmth of a turtleneck with a cleaner, more modern line.
Look 4: When the Layer Comes Off
In Part 1, the Fine Gauge Cashmere Sweater in Dune and the Thames Pant sat underneath the Camel Hair Cape. In this video, you’ll watch me take the cape off in the first few seconds.
This is one of the tests I run on every foundation piece. A statement layer gets the attention, but it comes off when you walk inside, sit down to lunch, or step onto a stage. What’s underneath has to stand on its own.
These two do. The fine gauge cashmere is ultra-light and fitted, with the house’s stand collar framing the face. The Thames pant is double face wool, two layers of cloth woven into one, so it holds a clean, fluid line without a lining. Dune against Truffle is a quiet contrast, and it looks just as intentional without the cape as it did with it.
Once the cape is off, watch the close-ups. The knit is so fine it lies smooth against the body and sits flat at the waistband of the high-rise trouser, with no bulk where the two meet. Then watch the trouser as I walk. The wide leg has a pressed crease down the front and falls almost to the floor, with just the point of a metallic pump showing. That crease and length are what make a wide leg look tailored instead of casual.
Look 5: Ease, Done Well
The Fisherman’s Rib Cardigan with the Wide Leg Pant is the only look in Part 2 built entirely from new pieces, and it’s deliberately the easiest one.
Fisherman’s rib is a knit stitch that creates deep, plush ribs. It’s thicker and springier than a standard rib, so it feels warm and substantial without being heavy. The cardigan zips up the front and has a tall collar you can wear up around the neck or fold down, which is what makes it look put-together instead of loungy.
In the video, look closely at the zipper. It has two pulls, so I can zip it from the top and open it from the hem. Opened at the bottom, the cardigan relaxes over the waist of the trouser instead of pulling across it, and that small adjustment changes how the whole look sits. The sleeves are raglan, cut in one diagonal line from the collar, which keeps the shoulder soft and easy.
Keeping both pieces in Nickel Melange, a soft heather grey, turns two comfortable pieces into a complete, tonal look. This is what I want for my clients on a travel day, a long weekend, or a morning that has to move straight into a coffee meeting: ease that still looks like you meant it.
Look 6: One Detail Does the Work
The Embellished Blazer with the Clinton Ankle Pant is the look I’d hand a client for an evening where she wants to be remembered without trying to be.
Wool silk crepe pairs wool’s structure with silk’s soft luster, and crepe’s fine, pebbled texture keeps the black from going flat. Then there’s the hand-sculpted white silk rose at the lapel, with a long stem that runs down toward the button. In an all-black look, that one detail carries everything. Nothing else needs to compete with it, so nothing does.
In the video, watch the close-ups. The rose is dimensional, so it catches light and moves a little as I do, which a print never could. Underneath, I kept it to a simple black top with a clean neckline, so the blazer and the rose stay the focus. And the back view shows why the blazer works on its own: a clean, straight back with nothing to interrupt the line.
The Clinton ankle pant is the same one I paired with the devoré blouse in Part 1. Stretch wool holds a sharp line and still moves with you, and the ankle length keeps a heel or a pointed flat visible. Another reminder that evening dressing doesn’t require a dress.
Look 7: Same Pant, a Different Day
Keep the Clinton Ankle Pant from Look 6, swap the blazer for the Striped Merino Sweater, and the look moves from evening to daytime in one change.
Superfine merino is wool spun from exceptionally fine fibers, so it’s light, smooth, and soft against the skin, and it layers under a coat without bulk. The stripe is black on black, made of alternating sheer and opaque bands across the shoulders and down the sleeves, while the body stays solid. From a distance it reads as a sleek black sweater. Up close, as you’ll see in the video, the sheer bands let a little light through, which is why it can go from a workday straight into dinner. The mock neck and fitted body keep the line clean, so the sweater sits smoothly over the pant without any extra volume.
That makes three looks for this pant across the series: with the devoré blouse in Part 1, with the embellished blazer, and here. That’s the kind of trouser I want in every client’s closet. It doesn’t ask for attention. It makes everything around it look better.
How the Right Pieces Work Together
Look back across both parts and you’ll see the same few principles doing most of the work:
- Every piece needs a second and third outfit. The turtleneck, the pencil skirt, the Thames pant, and the Clinton pant all appear in more than one look. That’s what makes them worth owning.
- Change one element and you change the look. A bomber over a familiar foundation, a cape taken off, a blazer swapped for a sweater. You rarely need a whole new outfit.
- Tone on tone reads as intentional. Blue Ink on Blue Ink, camel on camel, grey on grey. One color family, varied textures, and the look feels considered.
- Let one detail lead. Hand-applied studs or a single silk rose at the lapel will do more than three statement pieces fighting for attention.
This is the work I do with my clients. Most of the time, what a wardrobe needs is already in there. It takes the right few additions, and the right eye, to bring it forward.
Coming in Part 3
We started in Part 1 by looking closely at what deserves a place in your wardrobe, and here we’ve seen how those pieces work with everything around them. In Part 3, I’ll show you the finished looks, and the moment a wardrobe finally reflects the woman who’s been there all along.
Until then, every look above links directly to shop it.
Yours in style,
Roxanne xoxo
P.S. Want your own wardrobe styled this way, where every piece works harder? That’s exactly what we map out when you partner with me as your stylist. Book your Style Intensive, a virtual consultation where we’ll talk through your wardrobe challenges and the best way for us to work together.
