Mothers and coolness might sound like a clashing combination at first glance, but style-wise, they are coalescing like never before. In contemporary culture, the ever fashion-conscious powerhouses of modern celebrity—such as Rihanna, Gigi Hadid, and Hailey Bieber—certainly qualify as the epitome of effortless cool while navigating the profound shifts of motherhood. Yet, a deeper, historical, and more layered appreciation of this intersection is the focus of author Terry Newman’s new book, “Cool Mothers: An Appreciation of Style.”
Newman’s illustrated page-turner shifts the lens away from fleeting social media aesthetics to focus on enduring fashion arbiters across generations. The book highlights iconic figures including Jane Birkin, Vivienne Westwood, Kate Moss, Charlotte Gainsbourg, Taylor Swift’s mother Andrea, and Rosita Missoni, along with her daughter Angela and granddaughter Margherita Missoni.
While younger style icons like Lila Moss have spoken openly about dipping into their supermodel mother’s wardrobe drawers to steal old rock T-shirts—noting a vintage Rolling Stones tee as a personal favorite—Newman’s book is far more of a cultural celebration of mothers’ style than a practical how-to tutorial. In a recent interview, Newman explained that the personal style choices of the featured mothers communicate a profound sense of individualism, assuredness, and a deep-rooted confidence in their kin.
The exploration of maternal style stretches back further than one might expect, though modern interpretations feel distinctly contemporary. Historical records show that the unlikely fashion trend of wearing a false pregnancy bump called “The Pad” took hold in 1793, while Jeanne Lanvin famously introduced the matching mommy-and-me look in 1897. However, Newman’s work remains firmly rooted in modern cultural analysis. Adroit at delving into what wardrobes reveal about a person’s inner life, Newman has previously published acclaimed books exploring the personal styles of Harry Styles, BTS, and Marilyn Monroe.
All of these projects ultimately come down to what she describes as “writing mini biographies of people through their clothes.” In doing so, she suggests that readers might also examine their own closets as a different means for personal self-reflection.
Undeniably, mothers are having a massive cultural and political moment in the public eye. The traditionalist "Tradwife" movement continues to gain substantial traction across social media platforms, propelled by prominent influencers like Ballerina Farm’s Hannah Neeleman, who boasts a staggering 10.3 million followers on Instagram alone. But Newman’s distinct interest in stylish mothers lies in peering into the character of women specifically through the complex lens of their roles as mothers.
“It’s not necessarily a matter of thinking that cool mums are young or fashionable and effortlessly glamorous,” Newman noted during her recent discussions surrounding the book’s release.
This philosophy is precisely why the inclusion of Hole front woman Courtney Love was an absolute must for Newman, who believes the musician was historically given an unfair reputation as a young mother. Recalling her early reporting days for cutting-edge fashion outlets like i-D and Self Service, Newman pointed out that Love was virtually the only woman she could find on the red carpet “accessorized with a baby”—her daughter Frances Bean Cobain—with both mother and child strikingly dressed in carefully curated vintage finds.
The personal impetus for writing “Cool Mothers” stemmed from a poignant moment in Newman’s own life following the loss of her mother a few years ago. While going through her late mother’s personal effects, Newman discovered old diaries and a photo album containing remarkable snapshots of her mother taken at just 16 years old. That discovery revealed a vibrant young woman who seemed vastly different from the maternal figure Newman had known throughout her life, sparking a broader curiosity about how women retain their distinct identities before, during, and after motherhood.
Looking ahead to the upcoming 30th anniversary of Princess Diana’s tragic death next summer, Newman reflected on how the former royal served as a de facto mother figure for millions of people in the United Kingdom and across the globe. Noting how the late princess “was very much told what to do, what to wear, how to behave and had to be subservient to her husband, who apparently, was having an affair before they were married,” Newman observed how those restrictive circumstances forced her into a traditionalist, almost submissive role early in her public life.
“All of these things kind of pigeonholed her into this sort of trad wife type of world,” Newman said. However, she continued, “As Diana matured, flourished and started to assume her own identity, she went from this sort of trad-wife, wallflower wearing frilled blouses and things that her mother would have worn, into [someone who was] dancing into the night wearing Galliano.”
Another undeniable sign of Princess Diana’s modern coolness was how she chose to dress her own children, including Prince William, who is first in line to the British throne. By dressing young princes in casual denim, she broke decades of rigid royal protocol in a way that had never been seen before within the royal family.
Other prominent figures in the fashion world have shared similar intimate reflections for the project. Cora Corré opened up about her punk-leaning grandmother, the legendary Vivienne Westwood, while Serena Rees, founder of Agent Provocateur and Westwood’s daughter, added her own familial insights. Meanwhile, a vintage photograph of Elizabeth Taylor and her daughter wearing matching Dior couture at a fair inspired Newman to track down one of Taylor’s granddaughters.
Recalling that conversation, Newman shared, “She said, ‘Granny loved diamonds and everything. But if you gave her a ring from a Christmas cracker, she’d wear it just as proudly alongside of all her diamonds.’”
While some daughters look through photo archives to pick up direct fashion cues from their mothers, Taylor’s granddaughter, who shares a similar physical build, did so by watching some of the legendary Oscar winner’s classic films. Newman also highlighted an observation made by Judy Garland’s daughter, Lorna Luft, who once remarked on the surreal reality that most women do not have to walk into a convention where thousands of people might be dressed identically to their late mother. Ultimately, Newman believes these diverse accounts prove that cool mothers offer profound psychological insights.
“In a way, maybe the coolest mothers were the ones who allowed their children to be who they wanted to be. They weren’t necessarily the perfect mother. In fact, I came to the conclusion that perfection is the opposite of cool,” Newman reflected. “It’s more about women who have a strong sense of themselves. They allow their children to see them as complicated people with careers, making mistakes and having accumulated experiences.”
Through their various roles as creative directors, founders, designers, tastemakers, and prominent cultural figures, mothers continue to navigate the public sphere entirely on their own terms, according to Newman.
“‘Cool’ is sort of a throwaway word, but what does it actually mean in motherhood?” she asked. “Some of the coolest women have lived these lives without losing curiosity, style or a sense for themselves.”
Noting how literature, including feminist writing, frequently highlights how individuals can lose their distinct individuality upon entering motherhood, Newman emphasized that all of the mothers featured in her book successfully maintained their core sense of self. From the late Vivienne Westwood wearing a rebellious punk T-shirt to Courtney Love favoring vintage grunge aesthetics, “they all kept their ambition and individuality,” Newman said.
She points to similar resilience in the late singer and dancer Josephine Baker, who was in her late 40s when she adopted the first of her 12 children, as well as charming archival imagery capturing designer Lulu Guinness as a carefree, topless toddler playing on the beach with her mother in 1960.
Even global figures often boxed in by their demanding public personas find a place in Newman’s exploration. Suggesting that Condé Nast’s global chief content officer Anna Wintour is frequently “seen as this absolutely ball-breaking career woman,” Newman explained that she deliberately chose to include her because she is also a mother navigating the complexities of high-powered professional life.
“Women do get pigeonholed if they are suddenly influential or significant. Actually, that’s what makes up being a mother as well. They shouldn’t be seen as in this perfect formula,” Newman concluded.
