If 2023 was business as usual, I should be organizing my regular international fashion weeks marathon. That’s what you do when you are the fashion critic for French newspaper Le Monde. But that’s not who I am any more. Last September, I became the merchandising director of Heart of Bone, a small but blooming Australian jewelry brand with a striking luxe gothic aesthetic. I moved to Melbourne and traded deadlines for days spent helping my friend Emma [Addams], the founder and creative director of the brand, to turn her delightfully crazy ideas into the best products.
That probably looks like a 180 move. Most of the days, it also feels like a triple back somersault. Yet, it makes total sense. Let me explain. I was an accidental fashion journalist: an internship at the end of last century at Le Figaro got me into Alexander McQueen’s shows. His Voss collection, shown in London in September 2000, convinced me that I was where I should be. That moment was a perfect storm: the amalgamation of craftsmanship, art, theatricality happening in that glass box created the kind of savage beauty that I will forever feel connected to.
Fast forward a bunch of years. I worked hard, for multiple publications, I made my way closer to the front row until I got my dream job in 2012: fashion critic at Le Monde. Le Monde is one of the world most respected newspapers (think the New York Times but in French) and it got you the royal treatment: front row seats everywhere, invitations for the most...
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