Miu Miu Women’s Tales No. 31 with Margeaux Labat
Last night in New York, Margeaux Labat kept the mood of Mona Fastvold’s film premiere going with a cinematic DJ set—here she breaks down the inspo behind her sound.
There was something in the air last night at Miu Miu’s film screening at Village East by Angelika in NYC. In the midst of running around the city for fashion week, the audience waited with bated breath for the 31st iteration of Miu Miu Women’s Tales. And director Mona Fastvold delivered with a film made specially for the series. Discipline (2026) was surreal and sharply composed, a meditation on girlhood, control, and clothing as emotional armor.
After the screening, music curator and film obsessive Margeaux Labat, known for her incisive interviews, set the soundtrack for the after party at Chez Margaux with an equally playful and moody Italian- jazz-forward playlist. Everyone left dreamy eyed, with their heads spinning, just as Miu Miu intended. After all, the fashion house knows what it’s doing: The night is one of a long-running series that has invited female directors space to experiment on their own terms. In the heat of the moment, we caught up with Labat to talk her inner child, her love for the composer Daniel Blumberg, and why Discipline’s final shot struck her… no spoilers!
What’s been your favorite part of the evening?
I really enjoyed the screening. I honestly love any chance to sit in a theater and watch a film, and I haven’t been to Angelika East in a long time. I forgot how nice it is.
Was there a moment from the film that really stayed with you?
I went into it blind and was pleasantly surprised. I feel like there was a lot of subtext that would make a rewatch especially rewarding, so when it finished I automatically wanted to watch it again. And of course, I loved the clothes and costuming! The ending really stuck with me the most when [redacted]… that’s how I interpreted it at least. The final shots were especially breathtaking.
“If I’m about to do something that makes me nervous or go somewhere for the first time and am feeling anxious, I feel way more empowered if I have an outfit on that makes me feel good.”
— Margeaux Labat
There’s this idea of clothing as “armor” in the film. Do you see fashion as psychological?
Definitely. Your clothes can serve as mental and emotional support and protection from things that you encounter in your daily life, at least that’s how I see it. Like, if I’m about to do something that makes me nervous or go somewhere for the first time and am feeling anxious, I feel way more empowered if I have an outfit on that makes me feel good.
What did you think of the score?
I really liked it! I’m a big fan of Daniel Blumberg’s work, both as a film score composer and his indie music history (shoutout Yuck), so the score was unsurprisingly great. I actually first found out about Mona Fastvold through him, since he also did the score for The Testament of Ann Lee, which I’ve been meaning to see.
Tell me about the music you chose for your set. What was your inspiration?
I chose a lot of jazz and also film scores by Italian composers, like Ennio Morricone, Piero Piccioni, Piero Umiliani, stuff like that. Since it was a cocktail event, I wanted to provide a sonic wallpaper for people attending, so nothing too distracting but still somewhat engaging and interesting if people did decide to hone in on what was playing. Miu Miu, to me, is so feminine and classy, but also playful and not too serious, so I went for a lot of vocal jazz that emanates that vibe, like Blossom Dearie, Margo Guryan, and Astrud Gilberto.
Watch Discipline (2026) by Mona Fastvold below: