Pedro Pascal has been named a house ambassador for Chanel. The appointment follows a growing relationship with the house. His relationship with the house began in October 2025, when he attended Matthieu Blazy’s debut collection at the Grand Palais in Paris.

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He attended to watch his sister, Lux Pascal, walk the runway. He later returned for the spring/summer 2026 show, and by March, he was wearing a custom Chanel look at the 98th Academy Awards, a white tuxedo shirt with an oversized chrysanthemum silk and feather brooch paired with black trousers. Between those moments, he was also seen in New York carrying an unreleased Chanel flap bag he had first brought to the Paris presentation, in many ways.

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In his statement, Pedro Pascal said he “loves Matthieu’s vision,” describing it as “powerful, elegant, and incredibly warm,” and noted that the house “has a remarkable ability to honor its heritage while remaining modern and relevant.”

Matthieu Blazy, in return, called Pascal “a wonderful man and an incredible actor,” adding that “his kindness, talent, and his vision of the world are both inviting and inspiring.”

The move is notable because Chanel does not produce a traditional menswear line, though some ready-to-wear pieces are unisex and have historically been worn by figures like Pharrell Williams. Pascal joins a group that includes Kendrick Lamar and A$AP Rocky.

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His appointment also fits into Chanel’s growing focus on male ambassadors, even without a dedicated menswear line. The modern fashion ambassador is no longer expected to project distance. Pascal’s appeal leans in the opposite direction, shaped by a steady run of leading roles across television and film, known for “The Last of Us”, “The Mandalorian”, “Narcos”, and the upcoming “Behemoth”. This positioning fits with Chanel’s recent casting direction.

Read Next Post: Lady Gaga and Doechii Collaborate on “Runway” for “The Devil Wears Prada 2”

Lady Gaga and Doechii have collaborated on a new track titled “Runway,” released on the soundtrack tied to “Devil Wears Prada.” The collaboration dropped on April 10, quickly drawing attention from both pop and fashion audiences, blending two artists known for strong identity-driven music.

The song first surfaced in the film’s final trailer before its official release. Hinting at its role in setting the tone for the movie’s return to the high pressure world of fashion media. True to that setting, “Runway” focuses on visibility, confidence and image in high-pressure spaces.

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Lady Gaga opens the track with a controlled tone, framing herself as someone fully aware of the attention around her but composed. Doechii follows with a sharp, playful delivery. Adding a modern edge that matches her growing presence in hip-hop and pop crossover.

The title directly references “Runway” magazine, the fictional publication at the center of “The Devil Wears Prada” universe. In the upcoming sequel, the story returns to themes of power, ambition and fashion industry politics, making the song feel less like background music and more like a defining part of the film’s identity. Their styles contrast but complement each other.

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Gaga and Doechii have both previously spoken about admiration for one another, and this track feels like the natural outcome of that creative overlap. The same night it dropped, Gaga performed “Runway” live on tour, during her Mayhem Ball concert in Saint Paul, Minnesota.

Read Next Post: Lamar Odom Pushes Back on Khloé Kardashian’s Account of His 2015 Overdose

Lamar Odom offers a different account of the events, and he doesn’t hesitate to speak his truth. Appearing on Today With Jenna and Sheinelle on April 6, the former NBA star was asked whether ex-wife Khloé Kardashian had saved his life following his near-fatal overdose at a Nevada brothel in October 2015. His answer was measured but pointed.

“In some ways,” Odom said. “God saved my life. My lord saved my life, honestly.” He was willing to give Khloé partial credit. “She took care of me,” he added, “but God took care of me the most. What I came back from is like a medical miracle.” Khloé also said that when she got to the Nevada hospital, Lamar’s father, Joe Odom, was there and ready to take him off life support. She said she took charge of the situation, put visitation on lockdown, and became the primary decision-maker in his care.

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Lamar took particular issue with that characterization of his father. “If you know Joe Odom, I don’t think that’s something that would ever come out of his mouth,” he said. “He was my biggest fan. I don’t know where that got mistranslated. I just can’t see him ever, ever doing that.” Joe Odom passed away in 2021. At the time, Lamar was unconscious for three days, surviving six heart attacks and twelve strokes, and wasn’t able to see what happened at his bedside. However, he does not accept that version of events regarding his father’s supposed actions or intentions at his bedside.

What he does not dispute is the substance of what Khloé did afterward. She stayed at Cedars-Sinai for close to four months. When Lamar was discharged in 2016, she rented a house near her own, hired a live-in caretaker and a chef, and was actively overseeing his rehabilitation, By any measure, that was a serious commitment from a woman who had already filed for divorce before his health scare.

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The arrangement ended abruptly. Khloé showed up unannounced one afternoon and recognized the smell of crack from the staircase. She found Lamar in his bedroom. She punched him, told him to be out by Monday, and cut off all financial support. He had, she said, been doing far better than he let on and had used her care to sustain the habit. Lamar told Today he has no memory of that confrontation. “I’m not dismissing that,” he said. What he does seem clear on is where he places the credit for surviving what doctors apparently struggled to explain. The question of who deserves recognition for his recovery is one he has quietly but firmly answered. Khloé played a role. God, in his telling, played the bigger one. Khloé Kardashian’s representative had not responded to press inquiries at the time of publication.

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