Writing holds as much space as the image in my work.
Almost every project I take on involves writing, and I approach it with the methods of my training as a fashion historian: digging into a brand's past, its archives, its gestures and its identity, then drawing out narratives that hold up and give campaigns a depth the product promise never reaches on its own. The demand I place on language was formed in the editorial teams I led; the demand I place on analysis came from five years spent reading the signals of an industry and turning them into written arguments.
Articles
I write for the press and publish my own texts, a practice inherited from Modelab, the fashion innovation review I co-founded and edited, and later continued at A Magazine Curated By. Five years leading the fashion team at Heuritech added a taste for analysis and for argument built on verifiable signals. But it is the historian's work that governs: placing a garment, an image or a habit within a span longer than a single season.
Copywriting
Manifestos, brand platforms, taglines, tone of voice and wording. The narrative comes before the campaign, because it gives the images a reason to exist and gives the house a language of its own.
Editorial
Shaping an issue, choosing the contributors, holding a line from flatplan to press. Issues led as VP and Creative Officer of A Magazine Curated By, the editorship of Modelab, panels conceived and curated, and the cultural notes written for the Institut Français de la Mode.
I write by hand, in French and in English, and I use artificial intelligence tools for transcription and proofreading.